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At this step by step illustration I’m showing you “the next level” of the previous step by step illustration I made of Adam Gregers – Varg. The painting is made on a white painted board (61 x 50 cm)
Oil Colours used at this painting: Cadmium yellow extra pale, Cadmium red pale, Phthalo blue, Titanium White and Alizarin crimson.
Material: Flat brush size “6”, round brushes, size 6 and 2 (2 for smallest details). A piece of tissue.
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| 1. The first step is to make sure that the pencil drawing is ok. The Drawing is done on a white painted board. When I’m finished at this step I fixate the graphite with “Fixativ” to prevent the drawing from smudging when applying the oils. |
2. When beginning to apply colours I begin working myself from the background towards the foreground to prevent from painting the colours “edge to edge”. I rather blend the colours “on the edge” to achieve a soft look even if the edge is supposed to look rather sharp when looking from a distance. As you can see I began applying colours to the face blending it a little with the background to give the painting a homogenous feeling. At this point I also work with deluted paint (thinned with turpentine) to keep the painting light. Knowing that I will work from light to dark in the background area and that I also will repeat steps over and over until I’m satisfied. |
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| 3. Pay attention to the steps of progressing as I am consistently working myself from background to foreground. The table in the foreground is for example a “background” to the tools laying on it. As you can see I have left the hand unpainted at this step, again to avoid the “edge to edge” painting. Even if the table in fact is in the very front in perspective it’s still a “background” to the hand and tools. If you pay attention to the shirt I have applied a couple of colours to blend them smoothly with each other as they are still wet. I keep on working this way to keep the soft impression. |
4. At this step I have filled the whole board with oil colours. The impression of colours and edges at this point is rather rough but in stead of finishing the painting from one corner to another I paint this way to easily adjust colours and edges to the very end without risking to damage the finish. If you look at the finish in the background at this step you can observe that I have achieved a more “living structure” compared to the earlier steps. It has been created using a piece of tissue dipped in thinned oils. Just press the tissue to the board rather fast and softly. |
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5. This
step is just showing you how it looks when I have worked my way
through the painting a second time from the point of “step 4”. As you can see the edges and colours are more balanced and softer. |
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 6.
Here
is the final result at this level. This demonstration-painting
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