Final Touches
Final Touches
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21:17

Portrait Painting in Oil Without a Brain

Intermediate Portrait

There is no assignment for this lesson other than to post your progress here.

Newest
Michèle Girard
Thank you for providing such inspiring references! I struggled to paint this but it was also a joy! I decided I needed to put it in time out and maybe revisit it after my skills improve. That shirt gave me fits! I'm finding out that I am a very messy painter and I get totally overwhelmed with brushes and rags all over the place. I have a hard time cleaning the brushes in between colors. I keep having to remind myself that I am not painting a wall and to stop overworking my brush strokes. Even though I am already quite slow, I think I need to slow down more and stop when I start getting tired, because then I make a mess. Anyway I appreciate you sharing your knowledge with us. I am quite happy with my second oil portrait, I love the old world/antique feeling of it!
@beck1625
Morgan - Thank you for the course. It's hands down the best painting course I've ever watched. And thank you for your recommendation of the Blick linen panels with extra gesso - great surface to paint on for not much money. I have a few more general questions that I would love to get your opinion on so I'm going to just ask them all at once. 1.) Do you still paint your larger pieces on Claessens 166? If not, what are you using now? Also do you add extra gesso to your stretched linen pieces? 2.) Could you explain exactly what you prefer to use (products, sheen, etc.) and what your normal standard operating procedure is for varnishing your paintings? 3.) Any tips for photographing your completed artwork? Your paintings are incredible but the photographs of your paintings are excellent too so any help there would be much appreciated for people like me who can't seem to photograph their artwork well.
Morgan Weistling
yes, still 166. yes, gesso like I do in this course. I use gamvar gloss varnish and add their cold wax medium to it to get rid of the shiny effect. I use a electric hand blender to mix it. stick blender. I use two tungsten 500 watt lights on both side of the painting that is on the wall , on it's side. I shoot through white umbrellas. I bracket for best exposure. always using a tripod on a slow shutter speed at lowest iso. Try to shoot in the f8 area of aperture.
Tanya Valkanova
It's was an excellent exercise, I lerned a lot but I'm definitely not happy with the results. I tried painting without sketching it first so it gave me a lot of trouble later. Gonna try it again some time later on.
Morgan Weistling
please try sketching first. This is a good attempt but you need to work out the problems in charcoal first.
@jpc99
5d
I find myself getting too blend crazy at the end, I can't seem to stop myself. One of the things I'm really struggling with is the thickness of the paint, I feel like I'm applying it too thick. It still looks too graphic to me, but overall I'm happy with the result.
Morgan Weistling
If you’re going to go blend crazy, let it be for the sake of edges there are still too many hard edges and not enough soft ones like the cheek and all along the shadow side
Riku H
20d
Learned a lot from this one. Took a long break between sessions and had to remix everything but it was good practise overall to get the matching values from scratch. Also continuing after everything is completely dry is daunting. I think I'm most happy with the shirt. Kept it loose and it turned out okay.
Morgan Weistling
excellent!
@szokebarnabas
Final Touches
@stewedveg
28d
Here's my Annie Oakley! What do you think Morgan?
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Award winning fine artist represented by @legacygalleryart in Scottsdale AZ
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