Journal of My Oil Painting Techniques

Michelle came back today and I continued with this fine art nude painting by introducing the colors to the body.

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I used rather thin layers of paint to avoid unwanted textures and keep the surface quality consistent. But I did not glaze transparent layers but still kept the paints opaque. I used mostly the filbert number-two brush, using the edges of it to define more detailed or crisp areas. I always do my best to avoid using very small brushes for the details but use the edges of larger brushes instead, as they seem to produce more sculptural effect.

I forced myself to see as many colors as possible and exaggerated the colors I noticed. When I saw a redness I made it more red on my painting, when I saw the blues, I exaggerated it and made it even more blue in my painting. I find that practicing this way keeps you from producing dull colored piece. When you step back, things will not look exaggerated but actually just about right, as all those intense colors you have exaggerated would start to blend together as you view them at a distance.

Many times I find that it is not really about SEEING the colors but more about FEELING them. In the event where I am not so sure if a certain color is actually there, I just go ahead and put it down on my painting anyways, and always try to put down as many colors I notice even if I am not sure of it.

On Michelle’s body, I noticed a lot of burnt sienna tones. Which is made up of yellow ochres and reds, as well as dark browns. She is caucasian but has a very dark tanned skin. Even though her skin can seem simply brown, I tried my best to see as many colorful hues as possible existing within the body.

I basically did the same to other areas, the door in the background, the fabric she is sitting on, etc. Always forcing myself to see as many colors as I can for this fine art nude painting.