In this series we will be working on a master copy in oils. I am using a 19th Century painting of the mythological figure ‘Lamia’ by John William Waterhouse as my reference.
You can use the same reference by clicking the link below, or you can find your own masterpiece to work from.
In this session – I will be continuing to render the figure – focusing on the chest and right arm/hand.
- I’ll be following the same process as the previous two sessions.
- As time goes on, the rendering process will become easier as you will develop a better understanding of the particular colour mixtures that work well for any particular painting.
- In this painting, I have to pay close attention to the relationship between cool (blues, greens) and warmer (yellow, red) tones.
- My approach is to lay them in side by side and then gradually blend them together.
- This creates a broken colour effect.
- The final thing I do each session (before allowing the piece to dry) is lay in some lighter tones in the brightest areas.
- This ensures that I don’t lose luminosity in the painting.
- You will likely need to add a small amount of a strong colour to your lightest tones – to avoid them becoming too greyed out.
- OIL PAINTS
- Titanium White
- Ivory Black
- Burnt Umber
- Ultramarine Blue
- Cadmium Yellow – Cadmium Red
- Alizarin Crimson
- ODOURLESS MINERAL SPIRITS (OMS)
- LINSEED OIL
- RANGE OF LARGE AND SMALL OIL BRUSHES