For those of you that follow me on Facebook and Instagram, this painting should look familiar. I completed it about a month ago but it was one that I worked on from November throughout. I've posted many Work In Progress (WIP) shots along the journey and decided to compile them all into my blog to see the progress in a more fluid format. You will notice that the majority of the photos either have a flash glare in one corner (witnessed above in the lower right), or have strange lines across the front of the painting. This is due to the fact that my studio, is in fact, my living room, and the lighting isn't the best. To compensate (and ultimately keep me from going blind), I use a halogen work light and that is the cause of the glare and lines...It is what it is! Hopefully you will enjoy the process more than nitpicking over the quality of the photos! :-)
Step 1: The initial sketch.
The painting in question is going to be completed in oils. I always start off with a basic outline sketch in pencil on a primed canvas. I'm not too concerned on details, I prefer to just get the image in it's proper location. Many artists would balk at using graphite on the canvas because it tends to smear and become part of the picture. As with all mediums, I've learned how to use this my advantage (and it's less messier than charcoal which is the preferred choice).
Step 2: Beginning the under-painting.
As an artist, I recommend you try various methods for creating your under-painting. After many trial and errors, I prefer doing a monochromatic under-painting in acrylics using Burnt Umber thinned with water as needed. I used to add Titanium White from time to time for highlights but have found this is a waster of paint so I prefer to use washes instead.
Step 3: Continuing the under-painting
As a portrait artist, I believe the eyes are key to every portrait and if they are handled improperly, the rest of the painting falls short. From Step 2 above combined with this photo, you can see I begin the eyes first and then work my way around the portrait. In the photo, the eye on the left seems remarkably darker than the one on the right. This is but one consequence of my lighting set up for photos.
Step 4: Blocking in the background
For me, everything that is not the face becomes the background. This includes the hair and clothing. Hair may seem essential and it is to a point. I regard it as more of an accessory to the features of the face. Again, the eyes are my focal point.
Step 5: Under-painting is complete.
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