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Portrait
Painting
Easy Oil Painting Techniques
by
STAGE1
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simply use an ordinary HB graphite pencil, tight penciling placing
details in the precise position. I did some grays to have some volumes.
And after, I spayed a thin layer of fixative to protect the drawing
from smudging and not to be mix in the colors of the later stage. |
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STAGE2
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the fixative is dried, I start to apply a thin glazing of yellow
ochre ( acrylic color) and immediately dried by a hair dryer. I
applied the second coating, the sketch is lightly visible, if some
of the details are covered with paint, slightly scrape it with foam
or a rag. Let it dry fully, this time the pores of the canvas is
sealed with paint and ground color eliminates whites and the brightness
of the canvas. |
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STAGE3
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this stage, oil painting begins mixed with tumpertine without a
linseed oil. I start filling the darkest tone and block all the
possible heavy toned areas especially in the corners. At this stage
is placing the light source emphasizing the main subject, the faces
and the hands. By using the "chiaroscuro" technique, I
play with the shades and shadows increasing the solidity of the
figure. |
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STAGE4
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| After
the blocking of the darkest area,
I start painting the natural colors and middle tones in every section,
completing the impression on the image. I start coloring the background
balancing the hot colors.
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STAGE5
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At
this stage, I start playing with shades and shadows, add different
tone density and the local color of the main subject, foreground
descending to background. I filled all the areas and let dry to
prepare for the next session. I used paint thinner as a solvent
and quickly dries the applied oil paints. I start adding more
colors and concentrating in every details adjusting proportions
and tones.
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Final
Stage
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Sophia
and Adrienne
Oil on Canvas 20"x16"
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The
Finished Painting
Practically
the whole of the picture has now been repainted with a series
of glaze, giving it more solid form.
The
features are worked in. In an elderly person there are marked
colour changes throughout the face, the areas around the eyes
and nose are warm and the flesh will appear uneven and colorful,
as opposed to the smooth and even flesh tints of youth.
The
hands are painted so as to emphasize the fact of the triangular
composition of the painting. Some of the edges around the head
and figure are softened to merge them into the background. This
helps to give a feeling of recession and avoids the aspect of
a cutout figure.
After
the addition of cadmium red and white to complement the flesh
tones, the background is repainted a series of overlapping blue
in whirling stokes in order to give textures and separate the
fleshtones of the figures. Finally the jewelry's are painted in,
dried for several days and glaze with a series of varnished.
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