Cesar Santos On Classical Oil Portraits

28/07/2020 Cesar Santos on Classical Oil Portraits | Artists Network
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ART MEDIUMS, ART SUBJECTS, ARTISTS MAGAZINE, OIL PAINTING, PORTRAITS AND FIGURATIVE ART
Cesar Santos on Classical Oil Portraits
BY MCKENZIE GRAHAM
In the Classical Tradition: A Self-Portrait

by Cesar Santos
“I am fascinated with the way our daily activities establish identity in a speci c way: I seek
to establish a relationship between the subject and his/her place in society, including hints
of the environment implying what each is shaped and perhaps de ned by.” Cesar Santos
In this excerpt from The Artist’s Magazine, Cesar Santos leads us step by step through his
process of creating classical portraits, in this case, a self portrait. To read the rest of the
article and see the full issue, buy a copy of the October 2015 issue here!
Demonstration: Creating Classical Oil Portraits by Cesar Santos

Step One: Placing the Shapes
Help
https://www.artistsnetwork.com/art-mediums/oil-painting/cesar-santos-on-classical-portraits/ 1/13
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On a 20×14 linen canvas, using charcoal, I marked the placement of shapes. For the
construct stage I use a combination of Andrew Loomis’s system and Charles Bargue’s
approach in Drawing Course. I’m measuring big distances, from the top of the head to the
bottom of my beard and the width of the head, so that the smaller distances can t within
the space.
Step Two: Finding the Features
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Once the proportions look good, I start adding more information. I nd the eye sockets,
the nose and the rest of the features. My advice: If you have to put some value down to see
proportion, better do it, but don’t fall into shading or rendering. Remember, this stage is to
facilitate the painting’s process, so don’t put in unnecessary details.
[Learn more oil painting techniques with this “Painting With the Oil Masters”
eMagazine!]
Step Three: Improving Shapes
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I want to take the drawing to a point where the viewer would recognize the individual and
his mood. I double check the accuracy of shapes. With just proportions and a bit of form
information, you’ll have all you need to start considering other elements like values and
color. Before you start painting, however, make sure you x the drawing by using a xative
spray.
Step Four: Massing in the Darks
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Since my canvas is white, I start by massing in the darks; otherwise, I won’t be able to judge
the lights against the white of the canvas. Using burnt umber, I go over the beard, hair and
coat.
Step Five: Mixing Flesh Colors
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Now I mix light red and white for the lights of the esh. For the shadows in the esh, I mix
a darkish value using raw umber, a touch of Indian red and white. I paint the whole head
using these two tints—mixing them to nd the midtones; then I let this layer dry before
moving on to the next step.
Step Six: Developing Color
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Having set myself up with good proportions, values, and a bit of muted color, I can now
focus on developing richer coloring; thus, I go over the esh in a direct manner with
opaque paint as I look for the right values and colors—not focusing on rendering but just
on bold, broken brushstrokes that describe the form and values of my re ection in the
mirror. I let this layer dry. My advice: Always adjust and improve the drawing, or rather, the
proportion and alignment, to express better artistic values.
Step Seven:
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After the previous stage has dried, I focus on re ning all areas, piece by piece, improving
the subtleties of value shifts and rendering the form. This is the time to describe the
surface by painting wet into wet all the nuances of hues I perceive.
I also make sure the handling of the brush is in accordance with the area painted. For
example, the beard deserves a different treatment than the skin or background; these
subtle differences will give contrast to the work and keep the viewer interested in Self-
Portrait (oil on linen, 20×14).  0 
To read the rest of the article and see the full issue, buy a copy of the October 2015 issue
of The Artist’s Magazine here!
Materials
Oils: Old Holland (OH); and Winsor & Newton (WN)
Palette: (right to left) titanium white (OH), yellow ochre pale (WN), raw umber (WN), light
red (WN), cadmium red (WN), alizarin crimson (WN), terre verte (WN), ultramarine blue
(OH), Indian red (OH) and ivory black (WN).
Brushes: No preference—the bigger the better
Canvas: Art x Belgian linen, 84c
Meet Cesar Santos
His art education is worldly, his work seen around the globe, from the Annigoni Museum in
Italy and the National Museum of China in Beijing to Chelsea, New York City. Santos
studied at Miami Dade College, where he earned his associate of arts degree in 2003. He
then attended the New World School of the Arts College before traveling to Florence,
Italy to study at the Angel Academy of Art under Michael John Angel. His in uences range
from the Renaissance to the masters of the 19th century to contemporary art. Among
Santos’s solo shows are “Syncretism” at Eleanor Ettinger Gallery (Chelsea) in New York;
“Beyond Realism” with Oxenberg Fine Art in Miami, Fla. and “New Impressions” at the
Greenhouse Gallery of Fine Art in San
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The artist has received numerous accolades, including rst place in a Metropolitan
Museum of Art competition. Waltman Ortega Fine Art in Miami will host a solo show of his
works opening September 12. Visit his website at santocesar.com.
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28/07/2020 Cesar Santos on Classical Oil Portraits | Artists Network

In the Classical Tradition: A Self-Portrait

Demonstration: Creating Classical Oil Portraits by Cesar Santos

Step Two: Finding the Features

Step Three: Improving Shapes

Step Four: Massing in the Darks

Step Five: Mixing Flesh Colors

Step Six: Developing Color

Oils: Old Holland (OH); and Winsor & Newton (WN)

Brushes: No preference—the bigger the better

Canvas: Art x Belgian linen, 84c

Meet Cesar Santos

Beginner Oil: Oil Painting Materials: The

Continue with Google

Peter Jablokow and His Nostalgic Subject Matter

See Paint Run: Capturing Movement With Watercolor

5 Watercolor Artists Share Their Unique Processes | Part 2

5 Watercolor Artists Share Their Unique Processes | Part 1

Painting a Watercolor Cityscape: The Luminous Works of Igor Sava

Every other month, ArtFix will highlight

and your life. Click on any piece in the

Here’s to supporting the arts!

Sign up for our newsletter

Please Select SUBMIT

For the Artist, Maker and (Forever) Inspired

Our Sites: WetCanvas | Southwest Art | Collector's Guide

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