Hi there I have just painted this portrait of Taylor Swift to demonstrate an aspect of Bouguereau’s technique, working straight into colour from the drawing. I worked on it for around 4 hours including the drawing stage. Below is the drawing stage which I completed using Burnt Umber and Linseed oil medium in a kind of ‘bistre’ effect. I did model some of the…
Hi there, I’ve been looking forward to doing this for a while, and now I’ve completed the films of both the glazes. Here is a photo of before and after the 2nd glaze. So this is the painting again showing the change from the 1st to the 2nd glaze, and then following on from that you can see the 2nd glaze next to the…
This is a painting I completed a while back. I was sent a photo and worked from that. Khaleesi is an amputee! Glazing really lends itself to painting fur, and this was completed in 3 passes. I didn’t work up from a grisaille but blocked in the colour areas, deepening and enriching the layers with glazes. Below are some of the process photos.
This was a commissioned portrait of a young girl and here are before and after images to show how I developed the underpainting. Grisaille underpainting was completed first and then I added some layers of colour glazes. With this method, rather than mixing the colours on the palette the colours are ‘mixed’ optically through progressive glazes – very thin layers – of oil paint with…
I have just finished the first glaze in oil paints on my grisaille underpainting. This short video project was all about trying to work out how Bouguereau made his paintings, something I have often wondered about. His works have a particular translucent quality and it was my mission to try and fathom the processes behind this. I think the only real way one can…
After drawing in this Bouguereau I painted the grisaille. I’m not normally used to modelling the forms so thoroughly but I found that to be a very valuable experience, because I don’t think I have ever done it! I have found in the past that as long as the drawing is correct in the grisaille then the glazes and half-pastes (with white) will continue…
These images (the 1st 2 are film stills) show the first 3 glazes as they went on, alongside the initial underpainting. This portrait was a challenge in the sense that I underestimated how light the reference was and how light the final painting would be, so the grisaille was too dark to begin with and the glazes darkened it further. It is still a…
Here is a portrait of my daughter at ballet class that I painted before attending Louis Smith’s glazing workshop. To begin I painted the whole thing in a ‘dead layer’ or monochrome using Burnt Umber, Ivory Black and Titanium White. Then I did some very thin coloured oil glazes and some ‘half-pastes’ where you’ve got a bit of white mixed with the glazes, which are more…
