Oil Figure Study

Female Figure Study
Female Figure Study

 

Oil figure study on linen. Reference was obtained  from New Masters Academy.

This was not a study about rendering details, but about establishing  big shapes, proportions, light and dark patterns. I used Transparent Red Iron Oxide (TRIO) as my single color pigment and a mixture of French Ultramarine Blue and TRIO to paint my darks.

Problems:

Painting on portrait smooth linen is great, however, if your pigment out of the tube is soaked with medium (walnut oil in my case) or you add to much medium, you will find that your brush strokes quickly get out of control. If your pigment out of the tube is too oily, just mixed a little bit of Gamblin’s Cold Wax Medium; it reduces the oiliness and consequently the glossiness of your painting.  Personally, I prefer to have a matt look to my underpaintings.

Your questions and comments are always welcomed.

Oil Figure Sketch on Linen

Oil figure sketch on 12 x 16 oil primed linen canvas. This was my first time painting on linen and I have to say, it was incredible!  It was just the right texture and smoothness that I wanted. Erasing on oil primed surfaces is a dream, compared to the acrylic primed canvases that I have used in the past for sketches.  The acrylic primed canvases soaks up the oil, thus making it difficult for making corrections. I have tried Arches Oil Paper for doing sketches, but they are even worse than acrylic primed canvases. Once the pigment is laid down, there is just no removing it, unless you cover it up with another pigment, which is fine if you are sketching with multiple pigments.

However, oil primed linen are expensive! I have decided, however, to use one oil primed linen canvas solely for the purpose of doing sketches. I will simply sketch, take a picture, and erase when I am done. I plan to get a lot of mileage out of it.

Your questions and comments are always welcomed.

Russian Academic Figure Study

I started out doing comparative measuring.  I held my hand out straight in front of me  with a knitting needle between my index finger and thumb. I measured from the bottom of the neck to the top of the head. This would become my unit of measure  that I would use to compare everything else on the figure.

After roughly calculating the height and width of the figure, I did an envelope or lay-in of the figure that consisted of 10 to 15 straight and diagonal lines. Subsequently, I did my best to locate  common figure landmarks, like the shoulders, sternum, navel, indentation of the inside of the elbow, iliac crest, etc. I have found that the  more skeletal/muscular surface anatomy you know the better you are able to narrow in on proportions and depict the surface of the figure better. I highly recommend Anthony Ryder’s  “The Artist’s Complete Guide to Figure Drawing“. He has a chapter devoted solely to depicting surface anatomy.

I did not focus on one area to long, I spread my attention around the whole figure, jumping from one figure reference point  to the next constantly comparing one surface mass to the other, again hoping to increase my accuracy.

In conclusion, I have to say that this one drawing pushed my patience,  concentration, and knowledge of anatomy to new levels. I consider this drawing  complete (tired of staring at it), but their always room for improvements.

I am finished with graphite and charcoal for a while. Switching to oils to do my sketches. So stay tuned for some gesture oil sketches. Really looking forward to doing those.

Comments, feedback are always welcome!

Tools used: Plum line, knitting needle, kneaded eraser, Mono Zero eraser, Creator Color Monolith graphite, Stonehenge 11 x 14  vellum finish paper.