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Portrait Demonstration Using Oil | Artist's Network

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In This Free Download Learn how Judith Peck depicts broken states of mind, as featured in The Artist's Magazine (October 2012).

Portrait Demonstration Using Oil

Posted on March 21, 2011 by David Jon Kassan | Categories: Art Articles: Education & Topics, Art Mediums & Drawing, Oil Painting Techniques Tips & Instruction, Portrait & Figurative Art: How to Draw or Paint People & Figures, Read The Artist's Magazine, Subject, Top Art Techniques & Tips Tags: Oil Painting Techniques Tips & Instruction. Bookmark the permalink.


My first intention for this demonstration was to do a quick study in oil, without a preliminary drawing, of the models eyes, but as I started working, I found the models face compelling. I decided to block in the face at a life-size scale and see how much of it would fit on the 810 support with which Id started. I thought it would be fun to see the face emerging from the surface, so I created a time-lapse film of the entire demonstration for my YouTube page. Only the initial stages of the painting process are seen in the step-by-step demonstration shown here. In both the film and these stills, you can can get a sense of my color choices by observing my palette, to the right of my untitled study.

1. Starting with a PanPastel No. 5 Sofft trowel-shaped tool, I block in the large masses and shadow shapes of the head, using a mix of burnt umber and odorless mineral spirits (Turpenoid). I use two tools to do this, one to apply paint and another dry tool to lift paint from the surface.

2. Once I have a quick and expressive foundation blocked in, I place little color spots or notes throughout the face. I base these notes on loose color impressions and my sense of the values.

3. After some initial color responses, I go back into the larger shadow shapes to define them more accurately, homing in on how the exact angles and shapes interact and relate to one another as a whole.

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Portrait Demonstration Using Oil | Artist's Network

4. At this stage, I apply more color hatch notes that loosely describe the forms direction, topography and rhythm. A little thicker paint is applied.

5. I refine further. I tend to go from large masses to small and back againback and forth, so that areas get more accurate in relationship to the whole.

6. I define things furtherwith a fine No. 2 kolinsky sable brushthinking about how each of my lattice strokes follows the form.

7. I continue to refine and tighten the drawing as I develop the form and color with overlapping hatches. At this point, Im thinking about areas that have subtle transitions and relations. To read more about Kassans work, click here to get your digital copy of the April 2011 issue of The Artists Magazine and read the feature article Urban Studies, by Jill Bossert. Free preview See an award-winning artists approach to oils. Click here for a link to a free preview of Expressive Oil Painting with George Allen Durkee from MORE RESOURCES FOR ARTISTS Watch art workshops on demand at ArtistsNetwork.TV Online seminars for fine artists Instantly download fine art magazines, books, videos & more Sign up for your Artists Network email newsletter & receive a FREE ebook

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Portrait Demonstration Using Oil | Artist's Network

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Gallery Henoch says:
June 23, 2011 at 4:34 pm

Thanks for your support of Davids work! For more information, visit!

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