Oil Portrait

Oil Still Life

Oil Still Life

Gesso 

Prime the canvas

 Guidelines:

1. Canvas eye level

2. Clear view of canvas, paints, and still life 

3. Room to step back 

4. Palette, canvas, and mineral spirits all in arms reach 

Toning

A transparent wash in Burnt Sienna knocks out the white and adds warmth

(drips are fine)

Composition Rules:

1. Height variation

2. Proper lighting

3. Objects must touch at least 3 edges

4. Object direction inward 

The Set Up

 Sketch 

Set up the painting by using a view finder and imagine how much is wanted in the picture

When positioning is as desired begin a more detailed sketch

 (book correction)

New Palette

-Burnt Sienna

-French Ultramarine
-Permanent Alizarin Crimson
-Cadmium Red
-Cerulean Blue
-Cadmium Orange
-Yellow Ochre
-Cadmium Yellow
-Titanium White

Local Color 

Focus on the larger objects first and then move down in size

To find the right color use the closest one given and then tone down as much as needed

To neutralize or (tone down) the color you use the color's opposite

Purple/Yellow

Green/Red

Orange/Blue

Details

Continue working on details of specific objects

Starting with the dark colors and working toward the light

Tips:

Use a dry brush to create a soft line

Keep two brushes going; one with no paint one with

Set color paint next to object, try to make it "melt" into the real life

Hold brush sideways



When beginning shadows remember:

Warm colors come forward and cold colors recede

Darks before lights

Smaller Details

Tips:

Choke up on the brush

hold brush like a pencil

To create reflections in mug mix reflection color with the current cup color, this will give it more realistic blended look

For the sparkles in the still life your white hue should never JUST be white

Titanium White with a pin point of Yellow Ochre, Cadmium Orange, and French Ultramarine

(handle and lid corrections)

Books

begin with darks (shadows)

Finding the right color

Cover:

-French Ultramarine

-Cerulean Blue

-Cadmium Orange

-Titanium White

Pages:

-yellow ochre

-grey the yellow with violet (Cadmium Red & Cerulean Blue)

  

visibility of the burnt sienna adds age to the books

Remember:

-right underneath the vessel is going to be the darkest
-you are able to take artistic liberties to make shadows realistic or believable

Skull

start with the darkest shades on the skull 

use Cerulean Blue & French Ultramarine

To gray out the blues use Cadmium Orange & Titanium White

keep very light touch on the brush strokes

the burnt sienna may show through for a more interesting and aesthetic look

Marbles & Figures

remember to have the shadow color in the correct areas to add dimension