This page presents a demonstration of the artist's oil portraiture technique. The sequence of pictures shows an actual work in progress, using fine-art techniques adapted from the Old Masters. The work was produced on a 20" x 16" linen canvas. Detail of the glazing technique is shown on a separate page. A second demonstration featuring an alternate Venetian technique is shown on the next page.

1. Initial layout
On the primed canvas, a light charcoal contour sketch defines the layout of the composition. In this early foundation stage, careful attention is given to accuracy of line and proportion, in order for the portrait to be a true likeness of the subject. The white canvas will reflect light through the subsequent layers of underpainting and glazing.

2. Underpainting
The underpainting is a fairly detailed portrait in monochrome. Pigment is applied thinly. This stage completes the foundation, with form and space defined by light, dark and halftone values.

3. Background and garments
After the underpainting has dried, basic colors for the background and subject's clothes are blocked in. These colors will affect the flesh tones applied subsequently.

4. Rendering the portrait
Working from dark to light, and from thin to thick paint, hair and flesh colors are added. The portrait is rendered as a series of semi-transparent layers. These glazes give the flesh a luminous quality that is unique to the oil medium and a hallmark of the Old Masters' fine-art technique.

5. Final details
After further glazing the flesh, background and garments, highlights and details are added to the painting. Compared to the carefully controlled brushwork of earlier stages, finishing touches are executed with lively strokes. [ Detail ] [ Zoom ]