Portrait Painting Tutorial | How to Paint a Portrait in Oil

Portrait Painting Tutorial | How to Paint a Portrait in Oil



hello there and welcome back to another day in the studio how about today we just get right into the painting so I'm using burnt umber and a little bit of titanium I'm sorry a little bit of odorless mineral spirits so I'm going to very quickly now choose where I want the head to fit the bottom so I'm going to be working in India la prima fashion so this means that I'm going to be you know painting the entire thing wet-on-wet remember this is a master study and not a master copy so the image that you're seeing there of course is of madam X it's a very famous painting by mr. John Singer Sargent as you may know one of the most important things I think really about this painting in particular you know any profileview is going to be the outline so the outer contour trying to get it as precise as possible with as minimal information as possible so if you're following along with me you know you have your own picture of the madam X just make sure to spend quite some time on the outside shape what's very simple and minimal straight lines and angles and today is going to be a little bit accelerated due to conditions in my studio I actually have to film really really fast if I'm going to have a video for Wednesday I'm not going to get to you know elaborate on what's going on I just have to film and work really really fast so again this is also going to be a test of how quickly I can create a painting for you so we're looking at just a little mark there for where the nose is going to fit a little bit of a darker accent there for the eye so I'm gonna do the best account okay to capture every single brush stroke however long this painting takes so if I move too fast feel free to you know stop the footage and review as many of the brushstrokes that I made so that you can follow along with me at your own pace and of course if I'm moving too slow you can just skip through no shame in that now as I usually mention since I'm working fast I kind of skipped it if you'd like to know exactly what materials I'm using as far as the colors the mediums and all of that stuff the information will be typed up in the description box down below so right now already I'm seeing a little problem drawing problem with the chin then again I was struggling with the chin for the last one the Diego velázquez master study so seems to be a reoccurring trend well that's okay so I'm relating now the neck to the eye and remember the purpose is not to make it look exactly like the picture that's never what I'm after I'm sure somebody in the comments is going to say it doesn't look like the picture well it's never about that okay it's about interpreting visual information and creating a painting and I also have a little side topic to talk about as I'm you know blocking in these shapes from the comments that I read he suggested that I talk about you know that the fear you know the fear factor involved in creating portrait paintings in particular you know and there's a certain fear to everything in life I mean anytime you're trying to do something new or you know like just put yourself out there just not one thing okay I I'm speaking to as someone that has so much experience with painting you know and you can say I have only a little bit of experience because I've only painted maybe a few hundred portraits and some people have painted thousands but speaking as someone with a few hundred portraits that I've done you know in this kind of style there's always gonna be a little bit of a fear factor especially in the start of the painting so that's why I kind of helps to do a lot of studies or like you know when you are working be loose with it be be as expressive as possible try to work through that fear and just know that there's always people out there okay that are just out there to give you a bad time and that's just kind of the way the world is you know it's the same kind of thing in painting and there's always going to be things in the way you know in my case there are physical things that are preventing me from painting for a longer time today so that's why I'm moving kind of quickly but I just wanted to say you know if you have any kind of fear you know like people judging you or the portrait being you know off or something like that you know just know that that's a natural thing and it's a good thing it's a good kind of fear really it keeps you on your toes I think and it's always important to know what you're after you know if you're after trying to create you know a perfect replica you know if you're drawing or painting along with me and what you want is a perfect perfect replica of the amount of max well then take a photograph of it and print it and print it onto your canvas and there you go it's done but this you know this isn't about that you know this is about using the information that we have in creating painting creating paintings but anyway you know I was trying to talk about things that I've been asked in the comments you know in life yeah I'm not gonna get too much another conversation about life and stuff I should be talking more about what I'm doing so again I'm just looking at all the shapes like a simple straight lines and angles and I'm trying to draw with as much precision with the paint as I would a graphite pencil you know trying to be as precise and I'm not particularly focused on the mouth mom focused on these outside shapes you know in this very particular curve on the chin you know trying to get it with line and this is an eraser brush technique okay so this is a bristle brush that has been pretty worn out okay well it's not completely you know dead but it's fairly worn out and the goal is to work out these lines you know once I get those lines as accurate as I can you know physically make them then I will go in with the simple shape you know don't let any obstacles stop you from doing what you really want to do but again this paint along is starting to become something of a pep-talk which is not what I meant so apologize for that so again I'm gonna stand back and if your drawing or painting along with me you know every time I say stand back every time I'm standing back it's a open invitation for you to stand back with me so we're kind of in sync no work at a rhythm I'm standing back again so I'm gonna make a series of marks and I'm gonna continue standing back and standing back really does help me you know gauge the big picture and the big picture is really the most important thing right now you know hasn't even been 10 minutes yet that we've been painting or drawing you know if you're drawing along with me you know and I'm on Instagram as you party you party fine art so you know if you want to share your work with me I saw a really lovely drawing that someone did of the Diego velázquez that I did the master study that I did for Saturday's video now it's really really happy so you know if you would like to share your artwork with me you can easily find me on Instagram as you power you fine art you can also have a little chat there if you'd like okay so let's just know that it does take me a while sometimes it does take me a while to respond to you know comments and emails and stuff like that and pretty much any platform alright so what I'm going to do is a get a larger brush here this is going to be to cover the dark okay so a little bit of odorless mineral spirits so I'm not really using any medium today I'm just moving really really fast so I didn't really have time to put any medium out so I'm just working with odorless mineral spirits to thin out the drawing color and I'm actually going to put the dark of the background with just a burnt umber and thinned out mineral spirits and so what the mineral spirits will do okay so of your painting along with me in particular with traditional oil paints okay what will happen is in about I don't know 15 minutes or so the odorless mineral spirits will evaporate into the air if that's what it does again it will basically just seem to evaporate okay that's what it will do and the paint if it's thin enough like this you know not too thin so that it's dripping or anything like that you don't want it to drip but you know just the right amount of odorless mineral spirits will go a long way and so now what I'm going to do is look for the outside shape once again so I see a little straight line here for the nasal bone so I'm going to have to use the eraser brush push this shape out just a little bit now sergeant was very deceptive okay this painting looks very effortless you know they're like very you know like it almost seems like you don't have to work too much for it like it just was flawless for him and I assure you it wasn't okay he did many many studies for this painting you can look it up John Singer Sargent studies of madam Gert Roe if that's how you pronounce her name the actual model that he painted you can also look up the history involved in this painting it's kind of a very interesting time and sergeant's life what you know is that this isn't the you know a history lesson and it's okay at the dark of the background kind of fuses with the hair a little bit we are gonna go over that later but for now what we want is to cover the dark and again odorless mineral spirits and it's really a trial and error especially if you're a beginner to know how much see how I just put in straight burnt umber that's because I knew instinctively that I might have had too much odorless mineral spirits so now the bulb of her nose is very it's very sharp it's like a point and so now what I'm going to do is I'm going to get a dry a clean and dry bristle brush just kind of fade this out a little bit and hopefully I didn't get any mineral spirits on that brush I will be using that brush later probably wasn't the smartest thing but okay that was a mistake alright so I'm gonna go over that with a piece of paper towel I just wanted to put a dark shape in for the nostril but it seems yeah I think I just had too much mineral spirits on there so whatever we're just going to leave that be and then when it's time to go in with color we'll take care of that and it just goes to show you really want to keep your shape simple you know how to put in all kinds of you know details and stuff there you know I would have been painful to erase what I just did but since I kept it rather simple I wasn't too painful to correct and again all of this is done by I you know you can measure and stuff like that if you want to but it's just my preference really these days I don't measure too much now I measure if I absolutely feel like I have to again again if you follow me on the Instagram I'm currently working on a larger painting so I think currently I only posted this study but next to me over here there's a larger painting that you'll be able to see on Instagram and in that case you know if it's a painting that I'm going to want to work on for an extended amount of time that I will measure now let's relate the corner of the shoulder so rather than measuring a lot sometimes what you'll see me do is use an angle so this angle from the shoulder you know where does it meet so it meets like roughly somewhere over here so I should be about good with that but again I think I'm gonna leave all this as I've been yet a little more mineral spirits here's a little trick with this technique okay you can actually use more mineral spirits in the corners here so that you know if it does drip you know I step in terms of aesthetics so actually looks pretty neat when is it dripping you know so you can have it dripping on the corners and it have a really interesting look nothing wrong with that but you wouldn't want to do that say up here on the top of the forehead alright so I'm gonna stand back again reassess my simple shapes and again I kind of had a little boo-boo here messed up there but you know it is what it is I think it'll be okay so I think that's going to be about good for the basic drawing again I would have I would prefer to do a little more drawing so for instance the hairline do as much as you can with simple shape simple straight lines and angles just shapes of light and dark do as much as you can in that way it'll really help you out a lot in the long run but now since we are moving around quickly we're going to go in with a little bit of flake white yellow ochre a little bit of SAP green too much SAP green so a little bit of alizarin crimson permanent titanium white now let me let me stress this I am not using any medium especially in the first layer of any painting or in the beginning of any Alla Prima painting you really really don't want a lot of medium so I'm going for the most bright areas right now so remember first I was blocking in the dark so now I have you know the basic light and dark shapes well now I'm going for the lighter areas now we're moving really really fast so the next one is going to be the top plane of the zygomatic bone right here so the top plane of the cheekbone now with the other brush I will say I really do enjoy these bristle brushes these are Robert Simmons bristle brushes and again the links in the description box down below now we're getting our first little halftone very subtle however so it's going to be kind of hard to see a little bit of burnt umber right into the shape here so not shy to get the right tone as quickly as possible I'm trying to get you know each value for value trying to move rather quickly so it's going to get a little darker up here as we move away from the light we're going to leave that to be the lightest area and we're going to come back later with a more impasto touch it's a little bit more flake white cadmium red now one thing I don't really see too much in this painting but I know Sargent must have put as a little more warmth in these extremities like the cheek bone here so again I don't have the photo reference linked in the description box just because you may be able to find a better picture than the one I have and thank you you know for sharing all of the references you shared with me google arts which I love I didn't really know about they have really wonderful images for photo references to you know work from study or just admire you know just to admire the artwork so again you can also look up Google arts just type up Google arts they have some really wonderful you know detailed images of Rembrandt's and other master works so I'm dropping in value a little bit here so a little bit darker and a little bit warmer later on we're going to come in with a single line here or seemingly a single line to get the contour it's a little bit more burnt umber you know I want some more red so we're gonna put the alizarin crimson permanent a little more lizard up that might be too bright is it is it no I think it's fine I think it's fine all right so now what we want to do we start to modulate the tones so a little darker okay a little darker a little more sap green and again I am not trying to make a perfect replica of the masterwork that we are looking at not at all what we're doing is we're interpreting visual information all right so it's going to get a little bit darker and warmer so we're gonna switch to the halftone brush let's just use what's on here a little bit more orange so we're gonna use the yellow ocher cadmium red flake white a little bit of titanium white and if you're new to this channel and you're wondering when artists I have to whites the flake white this one that I have here what it does is it has this property of which it allows me to use more of it without raising the value too much and what that enables me to do is to have a basically thicker consistency of paint which is what I want especially if I'm looking at a sergeant you know sergeant paintings have a lot of thickness to them now then I'm going to have to look for a different brush so here's another brush clean and dry bristle so burnt umber SAP green yellow ochre and again if you're following along with me and I am moving too fast please feel free to stop me in any part and catch up with me and if I'm moving too slow if you can work faster than me that's perfectly fine just go ahead and fast-forward me YouTube does have that option a little bit of a darker green for this cast shadow on the side of the ear so now I do have three brushes okay and I have a dark brush which I use for this a middle tone brush which I have with too warm of a color so a little bit of SAP green titanium white so that's about the color that I want all right so now that we're working down here I'm going to switch brushes to the light brush see how I didn't even have to mix really I already had that value on the brush no worries there now one important thing to note is the tone of the canvas and how I utilize the tone of the canvas usually I want something that's in the mill tone range that's a little bit cooler at times but I chose warmer recently and what it is it's an oil tone so I toned this canvas was oil paint and let it dry before you know working on this video just know that in terms of paint handling if you're working over top of a layer oil paint it sticks on much more nicely see how I'm getting a nice clean gradation of tone so a little bit lighter here and no medium no medium so if you're painting along with me remember no medium you want little to no medium I encourage you to revisit John Singer Sargent paintings just look at them there's not really much medium not much thinness to it now I'm not saying he didn't use medium because I know he did but you know what his paintings has have such a wonderful quality to them because of his paint handling the paint handling is an extremely I think it's just something that's not really talked about as much in my videos so I'm really trying to you know incorporate more paint handling talk into my usual my usual list of jargon then I talked about so now what is this this is the darker middle tone brush or putting in this kind of dark greenish tone so now we're starting to get kind of the big picture blocked in holy feel what's the matter max I'm going to go ahead and soften these edges here now using thicker paint not only does it help you to you know have a nicer texture to your painting what it also does as I've noticed more recently is it allows you to have more control over your edge quality an edge is something I didn't really talk about much either so we're talking about a whole bunch of new things now so the more paint you have on your brush I think the more control you have over your edge quality and something that that I know sergeant probably would have said a lot to to folks is always paint with a loaded brush and try to use more paint or sorry try to use a bigger brush to do the job than you think you need and what that does is it allows you to not put in as much detail you know later on you notice me do this before sometimes I'll actually just use a smaller brush to have more control right now I'm pretty much trying to rely on the kind of techniques that Sargent himself would have been relying on alright so now we're going to return to the lighter tones so a little bit of cadmium red and a lot of flake white I'm gonna have to recharge the flake white which is okay it's a little brighter and more pink and I don't really see this in the photo reference you know I do know that this this painting is very infamous for its flesh tones in particular the cooler flesh tones but I am putting a little bit of more pink around here just because I think Sargent probably did that and maybe I can't see it in the photo reference I don't know it's a little bit more of the sap green into there and notice how very little you know I'm not putting much information in the features you know one of sergeants one of the things that has talked about was in terms of sergeants way of working I'm not saying that this is how he worked but I'm pretty sure that you know he would have said some things like you know treat the the head at first like a wig makers block so we're very much treating it like a wig makers block you know meaning not really much into the into the features and when it's time to put in the information into the features we'll have the the structure all mapped out so a little bit lighter and brighter for the top plane of the order but you look for particular yeah top plane of the orbicularis Oris a little bit lighter over here okay so now what I'm going to do is get a smaller brush and now we're going to transition into the smaller planes okay smaller plane time so with burnt umber cadmium right into this area of the value scale and I'm using a synthetic brush because I don't want to put in too much paint now a little bit of burnt umber into that so now it's not so much about taking on paint anymore it was in the beginning and we did get a lot of paint on the surface but now it's about hurting the paint so we're going to be hurting towards specificity okay make sure too soft on this edge up here and we want to use the immediacy of the moment be brave always keep a brave brush even when you're facing a sergeant especially when you're facing a sergeant you gotta keep a brave brush alright so now we're going to put in a little more of a darker tone so the burnt umber cadmium red or sorry bit alizarin crimson permanent ivory black now very quickly I'm not using any medium again this the fact that I'm using a synthetic the fact that it's just a softer brush I think actually allows me to layer the paint much more nicely so notice how I transitioned okay I transitioned from the the bristle brushes loaded with paint to the synthetics and the synthetic is just layering on very very nicely okay so that's some paint handling advice for you and now we're putting in more of a dark tone there so now we're gonna want a much more specific tinier shape so again more fully quite forgive my English there a little lighter and brighter over here a little little boo boo over there but that's okay we'll go back in with the background colour later now putting this brush off to the side so now what we want is another synthetic brush make sure to keep a lot of brushes around just so you don't have to keep cleaning brushes so we're going to push the dark and try to get this shape now see how it works from the big picture to the small picture now we're putting in a very very simple soft edge for the dark of the eye and I'm going to try to keep this even more simple than the Sargent so I'm going to put even less information in this than the Sargent probably because I'm lazy but at the same time I think it might be able to serve as some advice for you you know you can get the effects with very very minimal detail and that's really what I'm trying to to show you so now with the eyebrow one thing I've noticed with the with the you know the amount of master studies that I've been doing is it seems like most folks will do this right here you know most of the old masters we've been looking at well soft and around the eyebrow like this okay watch very carefully softened and then impasto their thick fake paints okay all right you're following along alright so the next thing to do it's going to be to utilize the softness or to utilize a soft edge so what I'm going to do is here is a clean and dry synthetic brush so we're going to utilize this soft edge this soft transition and we're going to add the dark of the eyebrow and we're going to keep it for rather warm so with eyebrows you know dark eyebrows like this pretty much just burnt umber will work it'll work fairly nice try to keep it a similar breaststroke okay trying to get the of the eyebrow so it can be sharp like that at first okay here's what you can do you can get a clean and dry relatively clean and dry synthetic brush and just soft now with that same brush what I'm going to do is I'm going to the same dark brush that is and then I make it more red so off to the side here alizarin permanent yellow ochre okay so now we're going to push some more specificity into here so there's a dark on the backside of the tragus again I'm not going to put too much information in here now what I'm going to do actually is I'm going to get the clean and dry synthetic brush which will no longer be clean and dry after I do this but I have another one lying around somewhere and I'm using it to push the ear a little further back so pretty much just using the paint that was already on there now what I'm going to do is get the mill tone brush mill tone value a little bit more red just going to push the shape here a little bit more a little bit lighter and brighter the earlobe okay so now we're going to return to the dark shapes one brushstroke here another one here push this dark a little more a little more of the alizarin crimson permanent right into here very simple and now we're gonna get to light brush a little smaller light brush a little zigzags of highlight there and then sprinkle a little light right here make sure it's not as bright as these shapes a little bit in the middle tone region here it's a little curl right there of light and that should do for now for the ear now what I'm going to do is revisit the larger planes so I tend to work kind of back and forth smaller shapes larger shapes smaller shapes larger shapes and softening over there trying to keep it as soft as possible so now what I'm going to do is I'm going to use that what used to be clean and dry synthetic brush middle kind of greenish tone very subtle a little for these tones very simple half tones over here clean and dry well what used to be clean and dry is now just soft and mostly dry so we're putting in these darker tones so again we're putting them in kind of in a sneaky fashion so which means that I just kind of a blob of paint ambiguous blob of painting them sculpting out a half-down see how I'm sculpting the shape of that tone very simple there now what I'm going to do is with the smaller brush with the darker tone I'm just going to lighten it significantly just using the colors that I mixed on the palette and just a very simple little mark here I went to a stay I wish the backside of the Noah's right over here a little triangular looking shape now when you're doing this at home make sure that this is not too dark this was a very simple brush stroke of a value that's just a little bit darker and just a little bit darker now I'm gonna get the background color then I was talking about before so I'm gonna have to get a bigger brush so I have a larger brush here and I'm just going to be mixing right on to the canvas so now the paint has started to settle a little bit but you know not completely so we're mixing right on the canvas to cover the background very very quickly and once I have the relative value that I want I'm just going to cover and I'm gonna leave the outside shape for now because we want to be very careful with that outline okay very careful with that outline and I'll ask you a question am I using medium right now I guess you can't know because you haven't you wouldn't be able to see but anyway if you've been following along with what I've been saying no there's no medium at all and I'm going to make a make a point of that with this painting you know just because I want you to learn from my experiences I want us all to learn together that's one of the most wonderful things about technology these days is that we can all learn from one another you know information is now accessible at the click of a button and I also want you know education especially you know in my field what I enjoy to be as accessible as possible so now what I'm doing is I'm mixing up the color on the palate and I'm doing this because I know that I'm going to come back in into this mixture right here with a smaller brush and with that smaller brush I'm going to get this outline but first I just want to cover the background and I know it's probably making quite a lot of noise so I have run out pretty much of burnt umber and fillet quite so after I'm done covering this shape here I'm going to recharge the palate alright so I now recharged the color palette so what I'm going to do now I also have another clean and dry bristle or sorry a synthetic brush I'm just going to selectively soft in certain areas and now with the background brush just ivory black burnt umber and I use just ivory black and burnt umber just because I know that the the burnt umber that's underneath is going to influence the value a little bit of yellow ochre cadmium red you know again while I'm filling in a dark shape here you know there's not really much to talk about in terms of filling in the stark shape but to go back to the topic of you know that how to get over that fear of portrait painting you know that fear of you know the painting not looking like the model or something like that you know another way to get rid of that fear really well I shouldn't say get rid of because you know that's just a natural thing like I said before but I'm not going to you know reiterate what I already said another way to cope with that kind of fear especially involved in portrait painting it's just to think about it as something other than portrait painting just kind of a weird place to be I admit but it is in a way of relieving if you're not you know thinking too heavily the idea of portrait you know think about it as a painting I still like painting or whatever makes you more comfortable anything other than a portrait for me what do I think about I think about kind of abstract shape to be honest like I think about you know some people will say just think about it as a still life or something but I don't really paint too much still life so I can't really relate to that but I think about this more along the lines of a puzzle involving abstract shapes and how to reason with those abstract shapes and create a convincing image is what I really enjoy out of painting it's the chase you know you're chasing that puzzle a solution to that puzzle that you've been thinking about for so long and that's what really what I get out of it you know I'm sorry that's how I get out of that fear but it's there I mean I'm I'm worried I mean I'm fearful of you know making a fool out of myself with these videos and oh we're you know even worse you know giving you information that's useless you know that's that's a big fear that I have but I have to get over that every time I film one of these videos so again you know if you're fearful of portrait painting or what people might think of your paintings just know you're not alone I know you're sitting there listening and you're you know I just want you to know that I have the same kind of fears as well it's natural so now with the clean another clean and dry synthetic brush I'm just going to be softening these shapes around the eye and then we're going to come back in with the outside shape here and then I think we'll call it done as a master study and so again a master study is defined as an exercise I'm going to define it as an exercise in which you use your own techniques your own ideas and study a master painting okay doesn't mean copy it doesn't mean create a replica of it doesn't at all it's purely a learning experience all right so now what I'm going to do is I'm going to finish this up by getting a small synthetic brush my gray one or is it it's over here so what I'm going to do is clean it off with the odorless mineral spirits a little bit we're going to remix this color here the SAP green of the burnt umber yellow ocher more burnt umber holder less mineral spirits okay and we're going to want a very precise line so we'll line up there okay almost there and so if you're still watching and listening at this point I will now insert my secret saying so as you know with each painting or not with each okay I'm not going to promise that but with a lot of their more recent videos of an inserting a secret singing so just go ahead and respond in the comments if you catch my secret saying but my secret saying for this video will be it's all in the contours so just go ahead comment down below hashtag it's all in the contours it's all in the contours it's all in the contours and it really is I mean especially with this one very careful with the contours with this madam X okay so I'm going to be fairly quiet for this portion of the painting just because again it's all in the contours I'm really trying to get to the contour the lip isn't quite right so I'm gonna have to get back to that or I should just do that now different rush a little bit of a red darker red move that shape up just a tiny bit a little bit more of a dark tone right there I thought to do okay again the bottom of the lip can I get a different brush I do have quite a few brushes on hand I should be fine it's not perfect but should be okay cool all right so now we've got the contours up here and I'm going to leave the contour here a little bit softer see how the shape is soft but I'm going to sharpen right up here and I'm gonna leave this softer as a contrast let's just go ahead and draw just for the sake of esthetic a little bit of a line there and that should be about good I'm going to stand back alright so what I'm gonna do is I'm gonna grab the camera and I'm gonna put you as close to front and center as I possibly can so let's see how's bear with me here promise the camera shake we'll stop right about now all right so now you're pretty close to front and center but what that does is it means I can't stand here you are now in the place where I was when I was creating the majority of this painting so now you know just for the sake of you seeing what the painting looks like without the distortion again when the camera was at the corner there as you're noticed it does distort it a little bit you know and I'm literally right next to the painting and all I'm doing is just softening here and this should be one of the last touches I'll do on this master study so I'm gonna have to stand back and hopefully not crash into my camera and so again it's not perfect by any means but again I really wanted to capture every single brush stroke and guide you along the painting the development of the painting so hopefully you know after watching this you will draw and paint along with me or if you have been drawing and painting along with me feel free to share your your images with me on my Instagram and again my Instagram will be linked in a description box down below it's actually linked with the majority or actually with all of the the YouTube videos you'll find a link to the you para fine art Instagram and you can also see artwork there that I can't show on YouTube alright let me just stand back again so now we are pretty much at the final touches stage so now in terms of final touches you know what can I do to basically just make this look a little better so now with the dry brush I'm just pushing the neck the shape of the neck a little further back so again almost there we're almost done we have to push that shape back a little bit now with the clean and dry brush and I try to eliminate the glare so you'll see this light line here that's just the paint reflecting the light so I'm just kind of minimizing that by applying the brush strokes in this direction with a clean and dry brush now this is just a paint that I left from the background not covering that area but you know I kind of like that in terms of the aesthetics let's see so very very few things left for me to look for in the background in particular I think you know let's just get the paper towel running out of brushes so I'm gonna use the paper towel cover that shape there and cover this stand back one more time one more little light shape over here and on my website if you are interested in commissioning and it paintings for me or purchasing any of the paintings such as this one or any of the ones that you've seen any original paintings that seeing on my website that haven't been sold yet they are available for you to purchase just so you know all right yep I think that's going to be about it for today's episode there you have it again I really hope that today's episode helps you out I'm sorry that it was kind of accelerated but you know you had to do what you got to do I wish you the best in all of your artwork and as always remember in a world that can be so negative be the spark that ignites positivity among all of us if you like this video please feel free to leave a thumbs-up if you would like to support this channel even more I have a patreon account thank you so much for watching I wish you the best and all of your hard work and I'll see you again on Saturday and as always I always forget to mention something in the video but if you are if you have become a new patron to my patreon account this week you will receive your new patron shout-out on the end of Saturday's video so I'm going to wait for Saturday's video just so I can I can you know give everyone the shout out that they deserve for becoming patrons on this given week and that's how it'll be for the future videos as well you know if you are becoming a new patron to my patreon account you will receive your bonus shout out at the end of every Saturday's video and just to explain to you another just explain why I had to paint really really fast and why I may seem out of breath you know I really want to share the truth with you okay this painting I had to do really really fast because it is summertime where I am it's about I think 98 degrees or something outside the heat broke down not that he see I'm dilated I'm gonna drink water the AC unit broke down so people are going to come to look at it and fix it but unfortunately that we're not able to get here in time or I was not able to get them here in time enough for me to film this video so that's why it was kind of fast paced and that's why I am kind of like anyway you know when you really love something in life and you really want to do something in life it doesn't matter what the obstacles are it doesn't matter if you're in a studio you know without any ventilation and it's like probably a good like 95 degrees in your studio you're still going to paint you're still going to do what you love to do because you love doing it it is your passion it is what you are meant to do and again I wanted to leave the video off on a very positive note okay even though I had to go really really fast I had to paint this basically and I know a blink of an eye in terms of how I usually paint you know even though it's like really really hot and you know the situation is really difficult I truly enjoyed creating this painting I truly enjoyed guiding you I truly enjoyed guiding you along the process involved in creating this painting I just wanted to share a little bit about what's going on in the studio I'm pretty sure for Saturday's video I'll have the AC running again but if you are in the u.s. if you're watching you're in the US or wherever or it's summertime try to stay in the shade as much as possible if you work outside drink as much water as possible it's just it's really hot that being said I wish you the best in all of your art work and I'll see you again on Saturday

4 thoughts on “Portrait Painting Tutorial | How to Paint a Portrait in Oil”

  1. It's so true what you said about how simple JSS paintings look, until you try to paint the same way yourself. I think it's only after trying to do a master copy of any of his work that you can truly appreciate how masterly his touch and his broad interpretation is of his subject. He can indicate so much with so few marks. He also knew how to make his subjects look like the sitter but also bring out their beauty and elegance without over doing it. I appreciate him more and more.

  2. FYI there are some of Sargents studies and sketches for this portrait and a couple of photographs of the woman herself on my video of Sargent Female Portraits on my channel. I thought you might be interested in them. I won't put a link here as I think it's a bit impolite to link my channel on yours without asking your permission first. You can get to my channel by clicking the icon next to this message. Also if you don't want to keep this message, I know some people dislike others mentioning their own channel, I understand if you want to remove it. Just trying to be helpful. Thanks again. Oh just search for John singer Sargent Female Portraits from my channel, Master Painters. G.

  3. Hello again. I'm really enjoying the new format. I agree it's better to have the longer videos. I hope it works out for you with YouTube algorithm. FYI I always click on the intro advert, hope that helps and I would encourage any other of your regular viewers to do the same as its a very simple way that we can help even a little. I think I'm correct in saying that viewers clicking on the advertisers links helps you. Please excuse me if I'm wrong on that. Either way I wish you luck with this and thank you for the content. Regards, Glenn

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