Wednesday, 24 May 2017

How to Oil Paint Shadows


I've brushed in all of my neck tones and hues, marking out the shadows as I go.  The light is coming from Kace's left, therefore the neck overall will be darker than the face.  Shadows still have all the different tones and hues as in the light areas, only darker.  If you look carefully, some shadows are more red/purple and some more blue/purple.

With my basic mix of flesh tones, I add purple to some of it to make up my shadow colours.  I use Ultramarine Blue and Scarlet, and Permanent Rose if I want a bright purple.  As the shadow comes away from the object i.e. the face, it becomes lighter with more colour.

Don't forget about reflective light in shadows.  The shirt Kace is wearing is maroon, so under the shirt is an orange/maroon highlight.  Also on his right is a blue reflective light from the blue collar.

Monday, 15 May 2017

How to Oil Paint - Barb's Tip for Today



I am continuing to cover the unpainted sections of the face with my selected colours, still experimenting with different tones and hues.

My tip for today is to leave your palette in the freezer when not in use - even if you stop painting for an hour.  Here in sunny Queensland, the oils dry out so quickly.  As you can see, I have a whole range of colours and tones made up.

Now, I don't spend time mixing new colours every day, and it also saves a lot of money in oils.

So I can continue painting where I left off as if I had never left it.

Monday, 8 May 2017

Time to Paint!

The first thing I do before I start to paint is to sort out all the colours that I will need.  I don't like to use a lot of colours.  Any colours that I need can be made up from the ones I have selected.

For flesh tones I always use Scarlet Lake, Permanent Rose, Cadmium Lemon, Pthalo Green and Ultramarine Blue.  I added a few more colours for the kids' clothes and all these colours will be incorporated into the background as well.

Starting with the eyes, I try to cover the whole face with different tones and hues in a thin coat of paint.  In this way I can experiment with colour and find the right tones in the right areas before seriously painting the face.

Thursday, 4 May 2017

The "Thick on Thin" Rule for Oil Painting

I'm building up the layers on this round board, making sure that I start with a thin layer and end in a thick layer of paint.  The "thick on thin" rule is the one rule that must be adhered to in oils.  If a thin layer of paint is applied to a thick layer, it will result in the thin layer on top cracking.  The thick layer underneath takes longer to dry and expand, cracking the already dry top layer.

Monday, 1 May 2017

Precise Drawing in Portraiture Makes it Easier to Paint.

From my little rough sketch on A4 paper, I have finished drawing up my figures on to my big 101x76 cm canvas.  This took quite a lot of time - measuring, rubbing out and redrawing the whole way.  As I used different parts from different photos, I had to make sure that the sizes of each figure were correct.  In the end, it was a matter of what looked visually correct.

After all that rubbing out and re-drawing, I painted over the mistakes with gesso to help clean it up.  Now it's time to paint at last!

Saturday, 29 April 2017

Another Great Painting by Grace

This scene from New Zealand is Grace's latest masterpiece.  I can't really call her one of my students any more, as she obviously is a talented artist now.  I think in this painting she has mastered her tones - especially that lovely section of light on the big mountain in the background.  I love it.

Thursday, 20 April 2017

Painting a Sunset on Board

My son bought me this round board for Xmas last year.  I had to give it several layers of gesso before I started to use my oils.  It is very smooth and takes a bit to get used to as I always paint on canvas.  It is a little harder to blend the colours on the board, and by the looks of it, will need to do a second layer.