Wednesday, 20 September 2017

Checking your Progress When Painting Multiple Faces in Oil

I have gone over the entire face looking for any differences from my photo references.  If you are not sure of something, it doesn't hurt to remeasure and correct before you move on.  Stand back and analyse -

Is the light source the same throughout the painting?
Are the colours, shadows and highlights consistent with the other faces?
Do I have the right amount of reflective light from the surrounding figures and clothes when they are done?
Are the edges correct - soft and hard?
Most importantly, is that Khye?

Tuesday, 19 September 2017

Mixing a Base Colour for Portraits in Oil

I use Scarlet and Lemon to make an orange colour first, then slowly introduce Pthalo Green for a dirty greyed-off colour.  This is usually my base colour that I use throughout the portrait.  Add some white to half the mix for a lighter colour, halve again with more white for a very light mix.

Areas such as the nose, cheeks and lips are ususally a bit pinker so I add some Permanent Rose to the base colour for this.  In my portrait, the girls' and Kacey's faces are quite pale, so their flesh tone had a dot of Permanent Rose added to the base colour.

Here, Khye has a darker complexion, so I have added a little Ultramarine Blue to the base colour and no Permanent Rose. 

Tuesday, 29 August 2017

Keeping the Colours Balanced in an Oil Painting

I have brushed in the sand and water reflections with a mix of Naples Yellow Reddish and Lemon.  I'm just getting rid of the white canvas that is left while at the same time experimenting with the orange colours.  For the darker reflections, I'll use the Cadmium Yellow, Cobalt and Cadmium Red Light as they were used in the sky.  Once you start a painting and have picked out all your colours, try not to introduce any new colours.           

Friday, 25 August 2017

Soft Edges and Hard Edges in Portraiture

I think it's important to not go too crazy with detail, especially in a child's face.  The lines on their face e.g. smile lines and under the eyes, should be very soft and smooth with no hard edges.  Make sure these lines are in the exact place as they help to determine the likeness in a portrait.  I re-check them after my initial coat of paint.

Wednesday, 16 August 2017

Warm or Cool Shadows in Painting Portraits?

My photos were all done outside, with a strong cool light source.  Cool light produces warm shadows.  I mixed up a purple first, using Ultramarine Blue and whatever red you are going to use throughout the painting (in this case, I chose my Permanent Rose for a soft, pretty, pink/purple colour).  You can add a little of this mix to your base flesh tone and adjust it according to the area that you are painting.  Remember, in the highlighted areas, the shadows are sharper with more colour, and in the shadowed areas, colour is muted with softer edges.

Wednesday, 9 August 2017

Shadows and Highlights in Oil Painting

Starting my third little face now.  As always, I begin with the eyes.  Her head is slightly tilted so that her left eye is a little closer to the viewer, and it is in the highlighted side of her face.  Therefore, I have made the left eye a bit sharper, with more contrast and colour than her right eye.  So I have painted the shadows and highlights in this eye with a clean blue.  The same goes with the shadows and highlights on the skin.  The shadowed area under that left brow reflects a lovely orange glow, whereas her right eye is in shadow and therefore is more muted in colour and tone.

Saturday, 29 July 2017

How to Paint Water in Sunsets Part 3






As we continue down the canvas, away from the horizon toward the shore, we can see more detail and movement in the water. 

For this section, I am brushing in the darks first as the dark makes up the majority of this section.  The highlights will go in later.  I also have made this section a brighter blue (with less red added to the mix).  We can see more colour and transparency as the water becomes more shallow and is closer to the viewer.