Okay, this is an oldie but just what I need as a refresher – sharpen my color mixing of lighter skin tones. I started this painting several months ago. I took a break from it, but for various reasons I never got back to it. I think I may have some footage (twitch live stream) of me painting. I’ll have to dig through my folders to confirm, but if I do I’ll post it.
The reference is from pixabay. I highly recommend pixabay for ideas/inspiration. I was looking for exotic landscapes to paint, something in the eastern part of the world when I stumble upon this adorable picture of a Cambodian child. Instantly, I knew I had to do a painting of this child. (See the inline links for the reference.)
I won’t stay faithful to the reference, as usual, I always diverge a little. I have cropped the image, really focusing on his/hers features. Originally, I was going for highly representational painting, but this time around I think I might do things differently. I guess we’ll see!
Today, I am posting my oil painting grisaille study of Cornelis van der Geest, by Anthony Van Dyck. This has been a three week study. I don’t consider it a successful study, meaning that I am not satisfied with the results I am seeing. I am going to shelve it for awhile. To be honest, I feel I am slowly ruining the study: my values are shifting all over the place with each pass that I do and I am slowly loosing the likeness as well. So, it makes sense to walk away from it for awhile and return to it with “fresh eyes”.
My process is very standard. I do a drawing first on the panel, then I seal with a mixture of 50/50 Dammar Varnish and Odorless Mineral Spirits(OMS) with a hint of burnt umber to create a wash. I let lit dry for about a day.
Here is my initial drawing using a graphite pencil. I try to keep the drawing loose and to include only the essential marks that will help me with the underpainting. Sometimes, I tend to include too much detail which eventually get obliterated when I start painting. Do not spend too much time in the drawing phase, especially for just doing an oil painting study. If you are just starting with oil painting, the goal is to get comfortable with medium and learning various brush handling techniques.
I sealed the drawing and did a light wash of burnt umber. Some of my initial drawing was lost in this process, which is okay because I can find the forms again during the underpainting. You still have to draw, even if you are painting! Your ability to draw is essential.
This is my first pass. I am loose with the values. At this point, I am just establishing the relative values I see at first glance so to speak, they are not accurate. I am also doing some form modeling, establishing my lights, darks, and halftones. Regaining the forms that I lost during the umber wash. I am using a 2 to 1 mixutre of OMS and linseed oil (lean medium) to thin the paint.
I believe this was my second pass. Here I am refining my forms, and doing my best to accurately depict my values. In addition, I am using a mixture of 2 to 1 mixture of linseed oil and stand oil (fat medium).
That’s it so far. Stay tuned for another study, this time it will be Gustave Courbet, The Desperate Man, 1844-45