Self Portrait in coloured pencil

Showing posts with label oil on canvas. Show all posts
Showing posts with label oil on canvas. Show all posts

Sunday, 16 September 2018

Boots the Deerhound


Boots the Deerhound

I used to paint exclusively in pastel until I lost the use of my right hand thumb, which meant that I couldn’t grip a stick of pastel without it dropping on the floor and crumbling. So I changed to working in pencil. I used a grip that meant the weight of the pencil rested on the fork between my thumb and first finger. Then, as my thumb started to get better, I painted in acrylic gouache using a method similar to the egg tempera technique. I lay the colours on the surface without directly mixing or blending them.
Then I tried oil paint. My hand isn’t strong enough to manipulate the paint except in glazes, so I was feeling frustrated. I started to wonder if there was any way of painting pastel over oils. Perhaps I could hold a pastel pencil. When I gave up pastels, the quality of pastel pencils weren’t up to my technique. 
So I started to look around at ways of combining pastel with oils. 

I discovered that there is a binder to turn pigment into oils. I bought a bottle of it but I haven’t tried it yet.
 
Then I found a fixative that claims to fix pastel and other dry mediums so that they can be overpainted in oils. I bought some and tested it. I painted over the blue sky in an unfinished oil painting with Colourfix primer. I have used this primer to use coloured pencils over acrylic and that is a challenge so I knew that I would be able to paint the pastel on top of it. I made a nice blended blue sky and sprayed it with the new fixative. It worked. But I haven’t tried painting over that (yet).

I have been struggling with the painting of Boots. I wasn’t happy with the hedge behind him or with the grass against the shadows of the hedge. So I tried using pastel.

I was thrilled to find that I could use the pastel sticks without dropping them. I was working on the hedge for nearly 2 hours without getting my arm and hand tired. I stopped because it was time to spray it with the fixative. 
What I learned: to spray it lying down and it takes more than a couple of minutes to dry. I set it upright when I first sprayed it and I got a dark green run over the light green grass. I laid it flat and it was easy to wipe clean, but I won’t do that again. It was a good thing that it was only the hedge. 

I brought it downstairs and set it up on the easel and worked on it some more today. I concentrated on improving the grass with pastel. I also worked a bit on Boots’ fur where it curls over the grass. The white is brighter than it was but it still needs work. I added a bit of grey but not enough. 

I am adding 2 photos of materials. First I want to show my “palette”. My brother made it for me by routing grooves in a piece of nice wood. 
Second I use quantities of putty rubber or kneadable erasers; two names for the same thing. I bought 3 different makes because the manufacturers change their formulas sometimes and it is a long time since I bought them. I cut them into small pieces with a pair of scissors. I find that they keep better with a tidy edge, rather than pulling a piece off. The important thing to know about storing putty rubbers is to keep them in the dark. Light makes them turn hard. 
I don’t use them for erasing much. I use them as a blending stump. The kind of stump that I have bought in the past transferred dirt once I had used it once. But a small piece of putty rubber can be squeezed to a new point for days. You can get a really clean edge with it.
The fixative is SpectraFix Degas Fixative. 












Friday, 3 August 2018

Five Portraits in Oils on Canvas


Five Portraits in Oils on Canvas

I haven’t been able to scan these Gypsy portraits because my house has been so untidy that the scanner was buried under clothes and kitchen rolls (unused of course) among other things. But recently I have put a lot of time into organising things to make my household easier to run so that I have more time and energy for painting. 
The scanner and printers are in my bedroom and I have moved a chest of drawers in there so I had somewhere to put the mess which was sitting on the scanner and the two printers. I am still moving things from one place to another but the bedroom is clear. I have moved my acryl gouache paints downstairs leaving just my coloured pencils next to my upstairs easel. 
So today I did a bit of scanning. Having looked at the portraits again after a few weeks I can see many places that they can be improved. I am not the first portrait painter to feel that way. 
Here’s the other four portraits:
















Friday, 11 May 2018

Girl in Profile Update


Girl in Profile Update 

The Girl in Profile is waiting for another tube of red paint that I have ordered today. 
I went over her hair again today but I think I will want to improve it tomorrow. I am still trying to match the subtle colours in her hair. It changes with the light. 
It is very difficult to be satisfied with a portrait. It reminds me of Maurice Quentin de la Tour, who was a very popular portrait painter at the French Court back in the Eighteenth Century. He worked in pastel and he was my inspiration when I first started painting portraits. 
He would deliver the painting then he would take it back to improve it. That sounds dangerous. It is so easy to overwork pastel.
I used to work in pastel but my latest paintings are oil on canvas. The canvas can be worked over without tearing holes in it. It is nice not having to be afraid of mistakes. 


Friday, 4 May 2018

Pretty Smile



Pretty Smile 

You will have noticed that I rarely give the name of my subjects. I am calling this girl Pretty Smile to protect her privacy and because she reminds me of my daughter-in-law who also has a beautiful smile. 
I was stuck on Pretty Smile’s hairstyle until I asked my hairdresser for help. I promised to give an acknowledgement of Sue’s help. I don’t know what the hairstyle is called but it is plaited right round her head and then tied in a big bow behind.
I have been struggling to match the colour of her hair. There are so many shades of brown. I decided on burnt umber. Now I must get the lighting right, and then I can glaze the light areas with thin strokes of the dark colour until it has the right texture. 
Her face is still monochrome brown ochre (Rembrandt oil paint) and I will add a pink blush over her lips and cheeks soon.
Now while the paint dries on this one, I am going to paint a bit more of Walter.

Friday, 20 April 2018

Girl in Profile


Girl in Profile

I have been enjoying painting this portrait of a girl in profile in oil on canvas. She has a very elegant nose. 
I have a bit of a thing about noses. Blame my mother for that. She had a slender Roman nose and she was proud of it. She would tilt her head and show it off, saying she was glad she didn’t have a snub nose. In case you are wondering, I have a cross between her nose and my father’s and I am very happy with it.
I took a lot of reference photos of the girl, but I had to reject all the full face ones because she had her eyes screwed up against the sun. 
I have finished the girl’s face, and last time I worked on the portrait I started her clothes. I would have liked to paint her hair, but I have to wait for paint to dry because I will need to rest my hand on her face and I don’t want to smudge it. Obviously. That is why I only painted the left side of her jacket. I don’t want a red hand when it is time to work on her portrait again.
I still have to finish her neck and paint her hand, which is resting on the back of a chair. They will wait until after I have finished her hair.



Friday, 6 April 2018

Brighteyes


Brighteyes

This portrait of a little boy, in oil on canvas, is coming along nicely. 
I started to paint his blonde hair full of different shades. I was mainly using gold ochre and raw umber. The hair was fairly dry by this morning so I thought I should put in the highlights. Then I had an idea to make the colour more subtle by mixing in transparent white. I had never used transparent white before. It is definitely different from ordinary white oil paint. So I painted transparent white over all his hair and I am leaving it to dry to see what happens.
Talking of hair, after I put him on the picture shelf to dry, I took down the portrait of his girl cousin who has an elaborate plaited hairstyle. I didn’t take a photo of her portrait because it hasn’t yet got sufficient nose or mouth to stop her looking like an alien. I don’t want anyone to see her looking like that. 
I was puzzling about how to paint her hair, when I remembered that my hairdresser was coming today. So I left the girl’s portrait on the easel and my lovely hairdresser, Sue, explained how the hair should look in my painting! I hope to post the finished result next week.
I am so lucky with the technical help I am getting with these portraits.


Friday, 30 March 2018

Walter


Walter

I am enjoying painting Walter’s portrait. It has come along nicely since I started to go over all the oil on canvas portraits using tones of brown ochre and using hints of Venetian red rather than the more orangey light red. 
It won’t be long before I have to paint in his moustache. That will be an interesting challenge.
His clothes are complicated too.
I am continuing to have ten portraits on the go, all sitting on picture shelves. I have two new ones ready to start as soon as I have space to put them. 

I mentioned last week that I had been very interested in the Civilisations episode about religious painting. 
I am a Nichiren Buddhist. Nichiren Daishonin inscribed a scroll with calligraphy of which he wrote: "I, Nichiren, have inscribed my life in sumi ink”. We Nichiren Buddhists enshrine a copy of this scroll in our homes and don’t generally go in for images of Buddhas. 
In another letter, Nichiren Daishonin wrote that he was ”cursed with an ugly appearance”. He had a couple of portraits painted during his lifetime that show he was not a handsome man but they do portray a kind man. 
After his death, statues were erected, and each one is more beautified than the last. 
I have noticed that beautification is common when it comes to painting religious figures.









Friday, 23 March 2018

Lady in Sunglasses


Lady in Sunglasses

This is not going to be the easiest oil on canvas portrait that I am going to do. I can’t see the lady’s eyes behind her sunglasses. But I can see her charming smile.
The sunglasses are making some interesting shadows and reflections on her cheeks (which I haven’t painted yet). Meanwhile, I have been concentrating on blending the highlights. And now she has a mouth and an indication of where her teeth are. Teeth take a lot of blending to get them to sit back in a mouth nicely. There is nothing worse than a portrait with shining white teeth!

I am sorry that this is such a short post. I was going to write about last night’s episode of Civilisations on BBC2. It was very interesting on the subject of religious art. But I fell asleep this afternoon and I can’t write a quick note on such an important topic. It will take a few edits. Look out for it soon.


Friday, 16 March 2018

Baby Has Eyes


Baby Has Eyes

I have been working hard painting this week. I spend about an hour on each portrait then I put them on the shelf to dry. 
I have changed my favourite brand of paint to Talens Rembrandt oil colours. I bought a selection of them and discovered that a very good cool skin tone is brown ochre mixed with lots of white, and a touch of light red oxide for rosy cheeks. My original selection didn’t include raw umber, so I ordered that, and some transparent oxide brown to try out.
Once I had the raw umber I was able to paint the baby’s eyes. They are a hazel brown and the rest of my browns were reddish. No good at all!
His eyes aren’t quite in the right place because I couldn’t rest my hand on the painting to do them - the paint was wet.
I would get more done (maybe) if I didn’t spend a lot of time picking tiny cat hairs out of the paint. I have tried tweezers but I can’t find any precise enough. I sometimes manage to scrape them off with a small palette knife if I find them before they are embedded in the paint.
Does anyone know a good solution? 



Thursday, 23 November 2017

Gypsy Portraits Project - Progress Report


Gypsy Portraits Project- Progress Report
Portraits of Gucci and Arthur

I have been struggling to get on with the portraits for this project. I have been falling too often. I dislocated my knee at one point, which stopped me from sitting at my easel. It took a while before I could do anything but sit on the sofa with my leg up straight. 

I am completely recovered from that problem and I am getting on with the portraits much faster. I am working on a number at once. A lot of painting in oils is waiting for the paint to dry. It is particularly important for me, because I have post-polio syndrome and my right hand is weak. I can paint with no problem. My only limitation is that I have to rest my hand on the canvas, so if the paint is wet it smudges, and I get an interestingly coloured hand.

I am most advanced with the portrait of Gucci, the dog. You can see what a beautiful nature she has. 
I am having to learn how to paint grass! It doesn’t usually come into portraits. 
Yesterday I searched online for a video of how to paint grass so I picked up a few tips. But I photographed the painting this morning before I put the tips into practice. 
I changed the colours from the video. I have an undercoat of flicks of shadow green by Holbein Duo Aqua Oil. It is looking promising. I used the colour to paint the bottom of the canvas so now it is upside down on the top picture shelf. I like the Duo Aqua paints. Gucci is mainly painted in Duo Aqua using a lot of Paynes Grey and white with raw umber to warm up the sunlit areas. I used some Schminke Mussini caput mortuum for the shadows on her tongue with Schminke Medium W Gel to make it water soluble. I also used a little bit of Schminke Mussini Pozzuoli earth to modify the Duo Aqua alizarin crimson. 

I currently have six portraits on the go. Another one that was dry enough today to rest my hand on was “Arthur”. This time I took the photograph after I had worked on it. It’s back on the picture shelves now, to dry. Today I also sketched baby Billy but it is a faint sketch and wouldn’t show if I photographed it. 
Meanwhile here is Arthur on the easel: