Howdy, Stranger!

It looks like you're new here. If you want to get involved, click one of these buttons!

You can send an email to if you have questions about how to use this forum.

Portrait WIP help!!!

edited April 13 in Post Your Paintings
I have a window of time between my last painting and the next one because the imprimitura i am using takes at least one week of time to dry, so i decided to do a portrait and to have more fun and starting to loose my style I will do it using only a number 12 filbert brush, I am curious about the possible result. The photo I will use for reference is this and I will accept advice about the background colour. I will use this time the not blending rule and try to stick more to DMP method.


  • I would juste use big brush strocks of burnt umber. I really love portraits donne this way. Are you gonna paint this like DMP or like you did with tenebroso?
  • I will try DMP, I want to try using big bold stokes of paint and have fun :)
  • OH MY! what a marvelous HAT!!!!
  • Apparently I am not able to draw only with line so I done  it  with chalk, I changed the subject because light on the back is not the best, I started with a rapid sketch with white chalk, I draw it by hand using the proportinal divider for reference. It's a 40x50 cms. I will start with oil paint and try to be more free than with last paintings.

  • I really liked the hat with a girdle.
  • I like hat too expecially if paintely :)
    This is so far, I am having fun!

  • Guys I have just realised I painted on "bricks" until now.. This is the first canvas I prepared with oil imprimitura, the last panel were prepared with gesso and acrilic background. Well I need to say this is another world, the paint flow, the brush doesn't stick it's crazy. In 3,5 h from sketch to this. If I knew before! 
  • I don't know how you get near the canvas with all those daggers sticking out !!!
    Looking good though
  • Ahaha I don't! Challenge is to use only one big brush so I am more distant. Anyway I will remove them when the glue will be dry :)
  • Sorry for posting too much but I guess I hit something. I was trying to paint as usual and then I decided to be free and try to follow my instinct. I started to paint more thick and with lead white because it retains the shape of the brush (in case someone wants to try) and I remember Rembrandt tecnique and how he also make layer over thicker paint. The optical result is incredible. I need of course to adjust everything and maybe I rushed for the excitement so next time I will be more careful but it's something I will expand for sure.
  • Ok so, after a night of sleeping I metabolized what happened and finally I can think better to what will be my next steps. After giving texture with the white I will use it that as a base and build layers above layers. I read few publications about Remnants and how he achieved the texture is still a mystery, some say the old grinding process of pigments, others say the oil was different, other say it was a kind of putting (chalk, glass powder and oil). The texture built directly into the paint is something unique and also the light part very thick gives a much more reflective surface and it actually glow. This is the optical effect I was talking, it glow in the room compared to the other painting I have done. Now I need to understandn how paint it coherently.

  • So I scraped everything away because I rushed too much and a number 12 is too large..I will switch to other brushes, print the reference photo and follow the dark first rule. 
  • I need help! I put chalk over the oil paint, does anyone knows how if I can paint over it without problems? Do I need to use a fixative? 
  • Bob

    Chalk is calcium carbonate and is a commonly used filler in oil paint.

    There are a number of modern impasto products for oil paint.

  • Wow @dencal thank you :) I will try to get one for sure. Did you ever used it?
  • Bob

    Yes, but only experimentally. About 30% Oleopasto gave me a toothpaste consistency. 50% more like smooth peanut paste. I could sculpt the paint into peaks and walls that held the shape.


  • Perfect Denis, it's exactly what could be used to recreate a Rembrandt "effect" in a modern way. 

  • edited April 13
    I don't like social media because people pretend  they have a perfect life. Well things sometimes go wrong. Frustrating.
  • Now you are painting in my style. Which is why I have nothing to post.
  • Thank you @dencal, I read everything, it's very interesting also the brush cleaner part.. I will look for as well :)

  • @Bobitaly   I love how you just dive right in and go for it with enthusiasm.  Of course, many "failures" will happen but in the end, you will have learned and possibly found a wonderful technique for generations to come.

    I have used oleopasto many times and love it.  I use it for mainly large paintings - I went through a run a couple of years ago of painting several poppy paintings - large canvases and with a palette knife.  It was great fun and the oieopasto really makes the paints go a long way without interfering with color as you suggested.  @Dencal is the master with compounds and structure so definitely listen to him!!  Depending on the ratios, I could almost make a half inch thickness with one swipe of my palette knife - it actually dries relatively fast because of the oleopasto so that is also neat.  It can be like icing a cake and freeing and fun.  

    I watched a documentary on youtube - i'll look to see if I can find it.  It was about discovering Rembrandts secrets and scientists used various methods to find the chemical compound - I can't remember exactly what but I do recall interesting organic matter with some of the colors.  The most interesting thing to me was they surmised that he used separate palettes - he would use a palette with certain colors and textures for the face, another completely separate for the clothing with organic material mixed in, and separate for let's say background - it was very interesting!  I think the reason they figured this out was because each part of the painting was separate chemically,microscopically - clothes got a different treatment than other things so I pictures him with many wooden palettes - it makes sense.  A coat/clothing palette needs different colors and texture than a face.

    I love the colors in that hat and jacket you are painting!  I look forward to seeing this progress.  I think using many different sizes of brushes could be helpful - mainly large but also palette knife or your finger will give it a lot of interest and texture.

    The latest video by Stefan Baumann is about painting, painting, painting - throw it away - it is the learning and the process.  So many people say "I don't have time" - if you really want to paint, you'll make the time.  He talks about working through mistakes - practice, practice, practice like you would playing a piano.  Push yourself and that is what I admire about you- you paint and practice and push yourself.  It is most enjoyable!!!!

  • Wow @Julianna I don't really know what to say, u are so encouraging and supportive all the time! For the moment I put this project in aside because I am a bit upset with him ahah I was trying to have an effect of multilayers so I was painting and after a while when the colour was a bit dry scrape it partially with the palette knife.. everything was going well until I scraped too much :D I will put this as side for the moment..I am preparing another panel and I have an interesting composition I think u will like it. I really like the Rembrandt tecnique and I think it's crazy even now there aren't painters like him, I live to look at high magnification in Google Art of his paintings and I really don't understand how he have done it! Also I would like to see your paintings with impasto!
Sign In or Register to comment.