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Oil Portrait Techniques
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Message
Posted
Hi everyone, I am new to this forum & in my compositions in oil portrait paintings, I can capture a likeness but not a good look alike. If I paint a female portrait, the end result is acceptable but I have to say if asked, it is the sister of the subject. Probably more sketching of people & I guess one day I will master the art. I usually sketch with a grid that looks good then somehow the likeness gets lost in the painting. I can see my mistakes then the portrait has progressed too far & I do not want to spoil things by changing a reasonable painting. I should start again I guess. Maybe you may like to share a few tips to try?
Posted
Well, I'm probably not qualified to answer this in as much as I'm an amateur but I'll pass on what I've learnt. I started off using grids but now tend to paint more by eye and 'shapes'. For me, it's essential to get a likeness if that's what you're being asked or want to do. I've also learnt that so much is in getting the mouth right. If working from a photo, measure and measure again to make sure everything is in the right place and constantly check as you paint. I have to say I've lost count of the number of times I've over painted to get things right when they've been a bit off. It's why I paint in oils or acrylics as watercolour I find far too tricksy and am not at all skilled at. I also keep an eye on negative space and shapes and, again, if from a photo, then turn your painting upside down and paint as it stops your brain inventing things your eyes don't actually see. Plus I have sketched and sketched first to get my head into seeing the relationships between eyes/nose/mouth etc. of the sitter. I have also found it useful to refer and study a number of very good books out there re portrait painting and drawing. It's a frustrating and very enjoyable process when you get it 'right' .... but very tough when you don't! Just that one brushstroke at the corner of a mouth or eye can be all that's needed to get the likeness back. Lastly, step away and leave it for half an hour or so and your eye will see your work in a new light. Hope all that helps.
Posted
Welcome to the forum, Bryan. This is certainly the place to get some advice.
I enjoy painting portraits and want to create a pleasing image of the sitter that reflects aspects that make them recognisable. I also work on the premise that if a totally realistic likeness is required then a photograph is a better choice. During my process the likeness has to be re-established at various points and the painting goes through “ugly stages” - e.g. block-in. Some of the things I pay particular attention to are edges and transitions.
If I can suggest looking up the portrait artist Ben Lustenhouwer, as he covers many of these topics and demonstrates them in his YouTube videos.
I look forward to seeing your work posted in the gallery.
Edited
by Ron Goodwin
Posted
We have a great series on painting portraits in oil by Kathy Barker in the tips & techniques area which you may find helpful https://www.painters-online.co.uk/tips-techniques/oil/articles/how-to-paint-portraits-with-character/
Posted
I'll certainly look at the Kathy Barker article. I paint few portraits, but have painted enough to know that it is indeed nearly always the mouth - not the eyes and all that 'window of the soul' malarkey - that causes a likeness to be lost if it's so much of a fraction out. All the features are important, of course - you don't really want generic ears and noses, because everything contributes to accuracy. The shape of the head, and the way it sits on the shoulders, is also vitally important - I have a tendency to paint too much forehead and then have to go back in and correct it, which means adjusting the hairline, and then you find that everything else is thrown out..... Which is what makes portraiture just about the most exacting discipline there is. I've never used a grid, though. I probably should.