How to Paint a Portrait in Oil – Part 3.pdf

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  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 1/49

    HomeNew?StartHereAcrylicsOilsDrawingColourFreeVideosArtCourses

    AbsoluteBeginnersDrawingCourseUrbanSketchingforBeginnersCourseTheEssentialGuidetoSketchingtheLandscapeHowtoDrawLight&ShadeforBeginnersAbsoluteBeginnersAcrylicPaintingCourseSimpleColourMixingCourseHowtoPaintAcrylicPortraitsCourseBeginnersAcrylicImpressionisticSeascapeCourseStillLifeMasterClassinAcrylicsReflectionsOilPortraitCourseArtBookstore

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    HowtoPaintaPortraitinOilPart3byWillKemp

    inoilpainting,portraits

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 2/49

    Whenyoucomebacktoyourpaintingyoullnoticehowtheoilhasbecometranslucentovernightandwonthavethesamecoveragethatyoufirstthought.

    Howtopaintaportraitseries.Thisispart3ofa5partseriesoftutorialsforbeginnersmakingthetransitionfromdrawingtooilpainting.

    Hereisaquickreviewofwhatwehavecoveredsofarifyoudliketojoinin

    Part1Establishingthedrawing,includingtheshadowline.

    Thiscanbedoneinpencilorcharcoal(thatyoucanfixwithfixative)trytokeepthedrawinglinesangulartostartwith.

    Trytoestablishthebasicshapesifyoucouldonlyuseastraightline,thenaddthecontoursasthedrawingprogresses.Aclassicbeginnermistakewhendrawingaportraitisanoverexaggerationofthecurvesintheface.Everythinggetsroundedoffandtheportraitcanhaveacartoonlikequality.Becausewehaveastrongvisualmemorysystemthattellsusfacesareroundthiscansubconsciouslyaffectyourdrawing.

    Wethestartedtoscrubintheunderpaintinglayer.Toabeginner,thisstageisoftenskipped,deemedtobeunimportant,butagoodfoundationiskeytosuccesswithportraits.

    Wethenhaveour3parttonalunderpaintingwhichallowsyou,andyoureye,tobecomemoreintunewiththeimage,andbecomeawaretothetones.

    Part2Developingthetones,addinglights.

    Wethenworkedoverthetopoftheinitialunderpaintingstilljustwiththerawumbertostrengthenthetonesandgetabetterfeelingofform.Theselayersareallpaintedthinly.

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 3/49

    Themediumforthisstagebeingasimplemixof1partlinseedoilto4partsmineralspirits(artistturpentineorodourlessmineralspirits)thisestablishesthefatoverleanrule.Witheachprogressivelayerbeingslightlyfatterwithmoreoilcontent.

    Wealsoaddedsomeroughedinlightswithafasterdryingwhite.

    Thisistohelpusjudgethetonesforthenextstagesowhenwepaintthemontheydontlooktooutwhenweaddthelights.

    TheAllureofhighlights

    Iforgottoemphasisattheendofpart2thattheroughedinlightsarethelighttonalmass,andnotthehighlights.

    Thehighlightsandtheverydarkestpartsofthepaintingshouldbethelastbrushstrokestobedone,buttheytryanddrawyouin!Itshardtoresistputtingthemonattheearlystage.

    Andevenifyouvereadthewarning,itsamazinghow,whenyougetengrossedinthepainting,yourhandwillbedrawntothatlightestwhite.

    Thiscanseemcounterintuitiveifyouarecomingtothepaintingfromdrawingasweofteneraseoutthelightestareas,orworkonthisareasthatattractoutattention.Thewhitehighlightsontheeyehaveaparticularallure.

    Whenthepaintingisfinishedthesewillbeseenbytheviewertobepaintedwiththemostskill,however,asingledotofwhitecanbepaintedbyanyone,butresistingaddingthemtakesthepracticeofanartist.

    Anoteaboutgrey

    OneofthestudentsfollowingthisseriesletmeknowaboutGambilnTorritgreycompetition(ThanksMario!)Everyspring,thepaintmanufacturecollectalloftheresiduepaintpigmentthathavebeencollectedbytheairfiltrationsystemandrecyclethemintoGamblinTorritGrey.YoucanlearnmoreabouttheTorritGreypaintingcompetitionfromGamblinwebsite.

    Pigmentdustshouldnotgointotheearth,waterorlandfill,butintopaint,RobertGamblin.

    ForourgreywearegoingtomixaneutralusingtherawumberandIvoryblack.

    Part3FirstPainting

    Mixinganewmedium

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 4/49

    Wenowcreateanewmediumforthenextlayerofthepainting.Differentartistsvarytherichnessofthemediumdependingontheirownpersonalpreferencebutthenextmixisaveryusefulone.

    1partlinseedoilto3partsmineralspirit

    Youcanusethepipettetomeasureoutamounts,orifImmixingalargeramountIllusekitchenmeasurementspoons.

    Protip:Ifyouaredoingalotofpaintingitcanbeworthpremixingalargeramountofeachmediuminresealablejars,labelthemupandthenyoucansimpledecantthemediumeachstageofthepainting.

    Mixingourblack

    Wearenowgoingtomixaneutralblackfordevelopingthismonotonestudy.Youcanstillcreatesomelovelystudiesjustusingtherawumberandwhite,itisawarmerfinishthantheblack,butyouwillstilllearntheimportanceofcontrastinyourpaintings.

    Tomixtheneutralweuse3/4ivoryblackto1/4rawumber.Thishelpstaketheblueoutoftheblack(blackhasabluebase,thisiswhyyoucanmixlovelymutedgreenswithblack)

    Ivoryblack

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 5/49

    Ivoryblackisaslowdryingpigment,bymixingin1/4oftherawumber(whichisquickdrying)itwillmatchnicelywiththetitaniumwhite(slowdrying)andatthisstageofthepaintingthelongeropentimewehavewiththepaintsthebetter.Ivoryblackalsohasalovelyrichnesswhenpaintedthinlywhichwillhelpoutinthelaterstagesoftheportrait.

    Thiswayyouwillhavetimetoworkthroughyourpaintingandblendandfuseedgesthatyouneedto.Thisiswhywestartedwiththerawumber,itdriesovernightandhasacoolerundertonewhenworkingwithportraits.

    Materials

    Winsor&NewtonartistqualityIvoryblackMichealhardingartistqualityRawUmberOldHollandartistqualitytitaniumwhiteWinsor&newtonSansador(odourlessmineralspirits)Winsor&newtonRefinedlinseedoil

    ThereisntanyspecificreasonwhyIuseeachbrand,IoftenintermixbrandsasIliketoexperimentusingdifferentmanufacturerscolours.Whateverisavailablewhereyouare.Theonekeythroughoutthemallisthattheyareartistquality(See:the8keydifferencesbetweenartistquality&studentgradepaint)

    Paintconsistency

    Whenyouarejustbeginningwithoils,thehandlingofthepaintcanvarygreatlydependingontheconsistencyofthepaint.

    Oilpaint(especiallythetitaniumwhite)isoftentoothickandstifftoworkwithatthisstageofthepaintingstraightfromthetube.

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 6/49

    Tomakethepaintmorefluid,Islightlydiluteitwiththemediumshownabove.Iuseapipettetodropafewdropsofthemediumontothepaintmixtureandmixitthoroughlywiththepaletteknife.Usingthepaletteknifeformixingyourpaintsisaveryusefultechnique.

    ThevideobelowshowsaquicktutorialonhowIdilutetheoilpaint.

    How to use a palette knife in oil painting: Beginner pale...

    Ioftenmixthecoloursonaseparate,tearoffpaletteandthentransferthemixturetothecleanglass/perspex.

    Ifyourejustbeginningwithoilsyoullnoticehoweasilyyoucancontaminatecolourswhenusingafullpaletteofcolours,thiscanleadtomuddycoloursandfrustratingpainting.

    Thishelpsyoutolearncleanworkingmethods.Iamnaturallymoreimpatientsoitisadisciplinetospendthetimemixingthecoloursasyoujustwanttogetpaintingbutitwillpaydividends.

    Step14Mixingourtonalcolourstrings

    Thisnextstageoftheportraitiswherewereallygetpaintingasin,thicker,moreopaquecoloursmixedtogether.Ifwelookbackatthelastcoupleofweekslessonsyoucanseethatwehaventactuallymixedanytonestogetheryet.

    Wehavesimplybeenblockinginthebasictonalvalues,inwhatissometimescalledthedeadcolouringstagethisisbecauseweareusingalimitedamountofoilinthemix,andmoremineralspirits.Asthe

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 7/49

    mineralspiritsevaporatethecolourcanappearflat,anddeadasitdoesnthavethelustrethattheoilgivesus.

    Protip:Whenworkingwithcolour,thisisalsoreferedtoasaddingthelocalcolourofasubject.Forexamplealemonwouldhavealocalcolourofyellow.

    Sobeforewestartthepaintingwearegoingtopremixarangeof9valuetones.

    White(1)isthelightest,black(9)isthedarkest.Thisenablesustogetamidtone5andsplitthetonesintolights,halftones,anddarks.Thesearecalledtonalstrings,youcanreadmoreaboutthemonAbeginnersguidetotonalstrings

    Usingavaluestrip

    Printout,orpaintoutyourownvaluestrip.

    Whenyouarefirststarting,workingfromaprintoutitcanbehandybecausethevaluestripwillbethesametonesasyourreferencephotographcomparedtothehuesoftheblackandwhitepaintifyouweretopaintyourstrip.

    Justslidethevaluestripundertheglass.Thiswaywhenyouaretryingtomatchthetoneyoucantestitbydabbingaswatchontopofthetoneunderneathtodeterminehowcloseyouare.

    ThefirsttoneImatchisanumber5.Itwilltakeyouafewattemptstogetitspoton,thisisnormal.

    BeawarethattheblackhasastrongertintingstrengththanthewhitesowhenIadditImjustscrapingasmallamountwiththepaletteknife.

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 8/49

    Ithenmatchalightvalue3

    Thenavalue7.Withthese3tonesyoucancreatesomegreatvaluestudies(whicharesometimescalledposterstudies)theseallowtoquicklypracticeandsketchouttonalcompositionsforfuturepaintings.

    Itisalsohandyifyouwanttoexperimentworkingwithacompressedvaluerange.

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 9/49

    WatersellerofSevilleDiegoVelazquez,1619

    IfwelookatVelasquezspaintingbelowwecanseehisuseoftheumberunderpainting,andtherangeoftonesusedtodirecttheviewsgaze.

  • 12/3/2015 HowtoPaintaPortraitinOilPart3

    http://willkempartschool.com/howtopaintaportraitinoilpart3/ 10/49

    Whenwelookatthepaintinginblackandwhiteitiseveneasiertoseehowthemostfocusonthepaintinghasbeenplacedonthesubjectwiththebroadesttonalrangeandthebackgroundfigurehasaverycompressedtonalrange.

    9valuetones