OCAD Studio: Figure Master Copy Part 2


Painting from Part 1

Several medium sized brushes


Palette including a red, yellw, blue, black and white (as a minimum)




Thinner (I recommend odourless mineral spirits (OMS)

Linseed oil

Kitchen paper towel for wiping back and cleaning



  1. Start by looking for the darkest darks (most likely pure black) to the shadow shapes you sketched in part 1. The darkest areas will usually be the creases or places where direct and reflected right can’t reach. Try to keep the shadows fairly thin/diluted by mixing in some medium (mostly mineral spirits with a little oil) with your paint.
  2. The next darkest part of the shadows after the creases are the ’bedbug lines’ – the lines that separate shadow shapes from light shapes. This part of the form doesn’t receive any direct light or any reflected light making it much darker than the average value of the shadows.
  3. Once the darkest values are in, you can add progressively lighter colours to the shadows. Work from dark to light as this will help you to control the values and colours as you add them.
  4. You should notice that the areas with the most reflected light are the lightest and highest chroma parts of the shadows. In my video the reflected lights in the skin are particularly high chroma.
  5. Take time to shift the values, hues and temperatures back and forth as you try to match the relationships in the reference or your subject.
  6. Adapt your dark tones to suit the local colours of objects and backgrounds in the painting. If you have a lot of different colour drapery you may need to use purer forms of the primary colours.
  7. Once you’re happy with the dark tones, wash your brushes and palette and leave the painting until dry to the touch (at least 3 days).

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