Figurative Oil Painting
Demonstration
"Amy Pinning Her Hair"
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After
priming an 11 x 14 inch hardboard panel with acrylic gesso, I painted
a mixture of raw sienna, ultramarine blue, titanium white and some medium
across the surface and then wiped it with a rag. Next, I roughed in
the figure and the shadows, indicating general plane changes especially
on the back. Some pink flesh color was added and the dress was roughed
in as well. |
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Since I used a medium that dries rather quickly, I did not have to wait several days to begin another session. Here I continued to define the planes of the form using areas of cool and warm color to shift direction. Shadows and edges are restated and light areas begin to get thicker paint. My skin palette here consists of raw umber, burnt sienna, venetian red, cadnium red and titanium white. |
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During
this session I focused on the near arm and face area, defining the forms
more clearly. I added less diluted strokes of the burnt sienna/ultramarine
blue/white mixture to the background to contrast with the warmth of
the flesh. |
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Here
the face is developed to a greater likeness of the subject and some
areas are restated. Slight changes complete the background. The dress
is painted in with thicker paint and the purple is used in the downward
facing planes of the shadowed areas both to indicate reflected color
and also to add to the unity of the work. |
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The forms get their final adjustments and definition. Some transitions are smoothed while others get a harder edge. The likeness is completed and the hairpins are added. As the dress color was added into the shadows on the flesh during the last session, skin tones are now added into dress to create a greater sense of form and unity. Finally, the signature is added. |
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