Here’s the progression of my portrait of Milo. It was a quick study completed in two sessions, each 2-3 hours long.
Oil on wooden panel. Panel was sized with Gamblin PVA Size, two coats of acrylic “gesso,” one coat of Gamblin Oil Primer. Ground was then toned with a mixture of Raw Umber and Flake White.
Palette and Supplies:
Sketch in Pencil. It is important to achieve a likeness. If the drawing is poor, then so too is the painting. I also try to set relative values at this stage. Notice the chalk grid which helps me maintain true proportions as I sketch onto the panel from a photo on a computer screen next to it. Notice also the cat paw prints — the cat stepped on the still wet toned panel before it was dry.
Background and shadows on shirt. I do the background as early as possible so that the contrast between background and subject values, colors, etc.. becomes immediately apparent.
Eyes and lips. I paint these first because I can immediately connect with the personality of the subject and this influences the rest of the painting. I also painted in some of the darker shadows.
The rest of the face is then painting Alla Prima, working from darks to lights
Shirt is glazed over initial sketch and then darks and highlights reinforced and blended chiaroscuro. I also added some more Phthalo Green to the background.
Finally the hair and some subtle glazes and highlights on the face
“Milo” (2015). Louis Cooper. Oil on Panel. 12″ x 12″.