The Portrait
Capturing the finest of details of form and texture creates this stunning and stylish image.
STEP ONE
Preparing your canvas, drawing I give my canvas a light sanding as I like it smooth. I prefer to paint on linen these days; it has a lovely texture and absorbs the paint differently to canvas.
I begin by painting the canvas with acrylics a block colour, usually a mid-flat brown as shown. I find it easier to draw my image on colour rather than a stark white background. I then draw the image with a watercolour pencil so as I paint the first layer of acrylics I can wash off parts that weren’t correct as I go. At the drawing stage it’s most important with a portrait to have the facial features correctly placed and any other part of the body or dress that is in the detailed foreground. It doesn’t matter how well a painting is painted - if the features are out it will be what everyone notices.
STEP TWO
Acrylic under painting After the drawing I start with acrylics as the under painting. I roughly paint at this stage, only detailing the facial features and details on the dress as the rest of the skin/ hair et cetera is detailed later with oils as the future layers will take over. The acrylics are good as a base for the oils.
I paint the colours as close to the reference as possible, making sure shadows and shapes are correct, and where different colours meet (say the background to the dress), I make sure the edge is soft.
Sometimes using acrylics for their tonal value only works as a good base for oils. For example, if I intend to paint bright red lips, I find painting them at acrylic stage a light pink then I’ll achieve a brighter red later with light pink as the under painting. Some of the reds can be quite translucent when it comes to oils so if your under painting is dark you’ll find it difficult to achieve a clean, bright red later.
The immediacy of acrylics allows me to achieve the under painting much quicker and my base is ready usually within a few hours or a day depending on the size of the painting. It’s easy to overwork this stage. I find giving myself a deadline helps.
STEP THREE
Oils 1st layer I prepare my palette. I stick two layers of baking paper down on wood. I find it easier to mix my desired colours with a white palette background. Never starve your palette. Always squeeze out plenty of oils so you’re not hesitant to use the colour you need.
To begin I paint from the background forwards. My backgrounds are usually
dark however black is too flat so I mix equal parts of Burnt Umber and French Ultramarine and depending on the portrait I add a little Alizarin Crimson or Flinders Blue Violet to give it more depth. I then paint the perimeter of my subject so the edge which meets the background is soft and out of focus. I then work on larger portions of fabric and shadows where edge meets edge to prepare for the next layer.
The hair is painted in using a rough larger brush with loose strokes (makes for a good under painting to come through the layers later). Sometimes I use Liquin if I’m keen to paint each layer on consecutive days. This dries the medium quicker and allows for a smoother blending. Always use Liquin in a well-ventilated area. I then work forward, large areas of the face, dark skin tones through to lighter sections. For the light skin tones I blend Yellow Ochre, Titanium White, Cadmium Red, Terre Verte (sometimes Flinders Blue Violet) and Cadmium Yellow, and the tiniest drop of Mars Black cools the tone. For darker tones I add Burnt Umber and Alizarin Crimson. For apricot cheeks, Scarlet Lake mixed with Indian Yellow and Titanium White. For the highlights depending on the light I mix Manganese Blue with Titanium White or Indian Yellow mixed with Titanium White but this is for the final stage only.
STEP FOUR Oils 2nd, 3rd layer
At this stage I begin adding more detail, and smaller brushes come into play. I detail the facial features in preparation for final highlights. I detail the hair with wispy brushes still using a medium to dark palette in prep for highlights later. I paint the details of the fabrics, the folds and shadows in prep for highlights also.
Sometimes at this stage I’ll paint three or four layers over the detailed sections. The more layers, the more detail I achieve, but at each stage I think of the next and prepare.
FINAL STEP
Highlights This is a lovely stage where the painting comes alive. Highlights are painted on the eyelids, eyes, nose, and lips. I often blend with my fingers and smudge the paint lightly; the linen creates a textured surface which is perfect for this. At this stage I do final layers over the fabric folds and pleats, trying to build a three dimension with colour. Where the light touches the fabric I usually paint the highlight over a few times.
For highlights on the lips I paint thicker strokes of Manganese Blue and Titanium White. At this stage I also edge where the skin meets the dark background with Vermillion Red using the finest brush. This brings the figure forward from the background.
Happy Painting Website: www.corinnelewis.com.au Facebook: Artist Corinne Lewis I