Final Stages of a Figure Painting in Oils
Usually when I’m working on a figure painting in oils, I write down ideas I have about the painting and the next steps I should follow. So once the painting is dry after a few days, I can pick up from where I left off.
My journal becomes quite important near the final stages of the painting, because this is when things really start coming together, and I want to be sure I’m getting things right and not forgetting stuff.
I also look at it the mirror at lot, in order to see the image in reverse. After seeing the same image for so long, my brain needs a fresh perspective. This helps the most to see any glaring proportional, tonal, colour or temperature errors.
How do you create warmer skin tones in oil painting?
Sometimes when painting a portrait or figure in oils, the colour temperature can be a bit off, or some areas become too dull and dark. This can happen if your canvas ground is too absorbent and the upper layers of paint become ‘sunken in’ and more transparent.
You then need to add more opaque and brighter tints using more white.
Sometimes, if parts of the painting don’t look right, they will need to be repainted. And glazing and scumbling methods are just too transparent in this case to make any fixes.
As in my previous blog Glazing the Skin Tones in Oil Painting, I spoke a lot about glazing and scumbling.
Well, I usually find in the final stages of an oil painting, that there are a lot adjustments and tweaks to be made.
I decided to build up a brighter value on her skin using titanium white, which is a fairly bright and opaque white, warmed up with a little gold ochre and permanent rose.
The underpainting and flesh tone layers beneath were looking just a little too dark and greenish still.
This gave me a higher key value to work with once it had dried and it allowed me to continue glazing over the skin to build up warmer fleshier areas.
Adding details, glazing, adding more details, and more glazing
It’s sometimes difficult to give a step-by-step account of how a painting progresses. Sometimes, especially near the final stages of a painting, the process doesn’t always seem linear in trying to bring things together. There’s an intuitive part that takes over.
It was time to paint the colour of her eyes and her lips, the colour of her fingernails, the broach and ring, and other more detailed areas.
I glazed more ultramarine blue over her dress. And then another stage of glazing with ivory black and ultramarine for the shadowed folds of the dress.
I glazed the shadow areas of her face and in the dark areas around her eyes, the throat, arms, hands, and more glazing over her hair to build up its glossiness.
You can read more about pigments for glazing, and glazing in the final stages of a painting if you need more help or information. Or, you can of course, just contact me.
Working on the space around the figure
You can see that I added a tiled floor which helps indicate the room’s perspective and adds a bit of colour to the space around her. I was inspired by Vermeer and other Dutch artists’ interior paintings of the 17th Century (Museo del Prado).
I literally lay the painting on the ground in the bedroom, tied a string around the foot of our bed and used the taut string to mark the vanishing point on the painting with a piece of chalk. And thus worked out the perspective with string, chalk and a long ruler.
The first layer of the tiles were painted fairly thinly. Then I added highlights and shadows to them later.
I also painted the shutters from dark burnt umber to white. Then to a natural blond wood colour with gold ochre and siennas. I glazed colours over the shutters in several stages.
I also worked on the shadow cast by the figure against the wall, and the areas of light shining around her.
Final details and highlights for a figure painting in oils
The lady who commissioned the painting is from Ireland. So she wanted bluebells and blue butterflies (Common Blue) in her painting. I painted the flowers and butterflies in about three stages.
I added highlights to the ledge she’s leaning on, and highlights to her broach and her ring, and to her eyes. (Glazed them again also.)
I also added patches of light shining on the floor from the window. By glazing dark shadows in some areas, I built up more atmosphere in the room. And scumbled cool light areas in others.
So in all, the painting was build up gradually bit by bit with many layers of glazes and scumbles. And this is what creates the interesting play of colour temperatures and transparent layers of textures and light and dark tones.
In the next figure painting in oils series, I show a slightly different technique. You can read about it or watch the videos, starting with Painting the Figure – Part 1.
I hope you enjoyed this series with me. Please comment or send me any questions you may have on the painting techniques. Let me know if you need help or any more info.
Check out my figure paintings here.