My First Attempt Painting A Face With Oil Paint A Beginner's Journey

Hey guys! So, I recently decided to dive into the world of oil painting, and what better way to challenge myself than by attempting a portrait? I’ve always admired the richness and depth that oil paints can bring to a painting, especially in portraits, but I’ll be honest, I was also a bit intimidated. This was my first time even touching oil paints, so it was definitely a learning experience. Let me walk you through the whole process, the struggles, and the little victories I encountered along the way. Trust me, it’s a rollercoaster!

Gathering My Supplies: The Arsenal of an Aspiring Artist

Before even thinking about putting brush to canvas, I had to assemble my supplies. This felt like gearing up for a major operation, haha! I spent hours researching the best materials for beginners, watching countless YouTube videos, and reading blog posts from experienced oil painters. It was a bit overwhelming, to say the least, but I wanted to make sure I had everything I needed to give this portrait my best shot.

First up, the paints. I opted for a basic set of oil paints in a range of colors. I figured starting with a limited palette would be less confusing than trying to navigate a sea of hues. I chose a set that included the primary colors (red, yellow, blue), some earth tones (like burnt umber and raw sienna), and, of course, titanium white. I read that these colors are versatile and can be mixed to create a wide range of other shades, which seemed perfect for a beginner like me. The brand I went with was a student-grade set, as I didn’t want to break the bank on professional-grade paints for my first attempt.

Next, I needed brushes. This was another rabbit hole! There are so many different types of brushes, each with its own shape, size, and purpose. I decided to get a variety pack that included both synthetic and natural bristle brushes in different shapes, such as round, flat, and filbert. This way, I could experiment and see which brushes worked best for me and for different parts of the portrait. I also made sure to get a brush specifically for blending, as I knew blending would be crucial for achieving smooth skin tones in the portrait.

Then came the canvas. I chose a pre-stretched canvas that was a decent size for a portrait. I didn’t want to go too small, as I wanted enough space to work with, but I also didn’t want to go too large, as I didn’t want to feel overwhelmed by a massive blank canvas. I primed the canvas with a layer of gesso, which is a white paint-like substance that creates a smooth surface for the oil paints to adhere to. This step is super important, as it prevents the oil paints from soaking into the canvas and ensures that the colors will be vibrant.

Of course, I also needed mediums. Oil paints are quite thick and can be difficult to work with straight out of the tube. Mediums are liquids that you mix with the paints to thin them out, adjust their drying time, and alter their consistency. I got a bottle of linseed oil, which is a common medium used in oil painting. It helps to make the paints more fluid and glossy. I also got a bottle of odorless mineral spirits, which is used to clean brushes and thin paints for the initial layers of the painting.

Finally, I needed a palette to mix my paints on, a palette knife for scooping and mixing the paints, a jar for cleaning my brushes, and plenty of paper towels for wiping them. I also made sure to set up my workspace in a well-ventilated area, as oil paints and mediums can release fumes. It felt like I was setting up a mini art studio in my spare room!

The First Layer: Blocking in the Basic Shapes

With my supplies all set, it was time to actually start painting! I decided to work from a reference photo of a friend. I spent some time studying the photo, paying close attention to the proportions, the shapes of the facial features, and the way the light and shadows fell on the face.

I started by sketching a very light outline of the face onto the canvas using a charcoal pencil. This helped me to get the basic proportions and placement of the features right before I started painting. I didn’t want to press too hard with the charcoal, as I didn’t want it to smudge into the paint later on.

Once I had my sketch, I began blocking in the basic shapes and values using thinned-down oil paints. This is the first layer of the painting, and it’s all about establishing the overall composition and the areas of light and shadow. I used a mixture of burnt umber and odorless mineral spirits to create a thin, transparent wash of color. This allowed me to see the sketch underneath while still adding some tone to the canvas.

I focused on painting the large shapes first, like the head, the neck, and the shoulders. Then, I moved on to the facial features, blocking in the eyes, nose, mouth, and ears. I didn’t worry about getting the details perfect at this stage. The goal was simply to establish the basic forms and the overall value structure of the face. It felt a bit like sculpting with paint, gradually building up the forms with layers of color.

I made sure to constantly step back from the canvas and compare my painting to the reference photo. This helped me to identify any areas that were out of proportion or where the values were off. It’s so easy to get lost in the details when you’re working up close, so stepping back is crucial for maintaining a sense of the overall composition.

The blocking-in stage took me a few hours, but it was a really important step. It’s like laying the foundation for a building. If the foundation isn’t solid, the rest of the painting won’t work. By the end of this stage, I had a basic roadmap for the rest of the painting, and I felt like I was making progress!

Building Up the Layers: Adding Depth and Dimension

After the first layer dried (which took a couple of days – oil paints dry slowly!), I was ready to start building up the layers and adding more detail. This is where the painting really started to come to life. I began working on the skin tones, mixing different shades of paint to match the colors in the reference photo.

I used a technique called color mixing, which involves blending different colors together on the palette to create the desired hue. This is one of the trickiest parts of oil painting, as it requires a good understanding of color theory. I watched a lot of videos and read articles about color mixing before I started, but it’s something that you really learn through practice.

I mixed a base skin tone using titanium white, yellow ochre, and a touch of cadmium red. Then, I added small amounts of other colors to adjust the hue and value. For the highlights, I added more white and yellow. For the shadows, I added burnt umber and a touch of blue. It was a delicate balancing act, trying to get the colors just right.

I applied the skin tones in thin layers, using a technique called glazing. This involves applying transparent layers of paint over each other to create depth and luminosity. Each layer subtly affects the layers underneath, creating a rich and complex effect. It’s a slow process, but it’s worth it for the beautiful results.

I paid close attention to the way the light and shadows played across the face, trying to capture the subtle gradations in tone. I used a blending brush to soften the edges between the different color areas, creating a smooth and natural look. Blending is key to achieving realistic skin tones in oil painting.

I also started working on the facial features in more detail. I focused on capturing the shape and expression of the eyes, the subtle curves of the lips, and the contours of the nose. Each feature is made up of so many tiny variations in color and tone, so it was a real challenge to try and capture them all.

I found that it was helpful to squint my eyes when looking at the reference photo. This helped me to simplify the shapes and values, making it easier to see the overall structure of the face. I also took frequent breaks to rest my eyes and clear my head. It’s easy to get bogged down in the details when you’re working on a portrait, so it’s important to step back and take a fresh look.

The Finishing Touches: Bringing the Portrait to Life

After several layers of paint, the portrait was starting to look like my friend! I was so excited to see it coming together. But there were still some finishing touches to add to really bring it to life.

I spent some time refining the details of the facial features, adding highlights to the eyes, softening the edges of the lips, and defining the shadows under the nose. These small details can make a big difference in the overall impact of the portrait.

I also worked on the hair, which was a challenge in itself. Hair is made up of so many individual strands, and it can be difficult to capture the way they flow and catch the light. I used a combination of thin lines and broader strokes to create the texture of the hair.

Then, I turned my attention to the background. I wanted to keep the background simple and understated so that it wouldn’t distract from the face. I used a soft, muted color that complemented the skin tones.

Finally, I added some final glazes to the skin tones to unify the colors and create a sense of depth. I also added some highlights to the cheeks and forehead to give the face a subtle glow.

I stepped back from the canvas and took a long, hard look at the portrait. I was pretty happy with how it had turned out, especially considering it was my first time painting a face with oil paints. It wasn’t perfect, of course, but I had learned so much in the process.

Lessons Learned: My First Oil Painting Adventure

This first attempt at oil painting a portrait was definitely a learning experience. I made plenty of mistakes along the way, but that’s part of the process. Here are some of the key lessons I learned:

• Patience is key. Oil painting is not a quick process. It takes time to build up the layers and achieve the desired results. You need to be patient and persistent, even when things get frustrating.
• Color mixing is challenging but rewarding. Learning to mix colors is essential for oil painting. It takes practice and experimentation, but it’s worth the effort. The ability to create your own colors opens up a whole new world of possibilities.
• Blending is crucial for smooth skin tones. Blending is the key to achieving realistic skin tones in oil painting. It takes practice to master, but it’s an essential skill.
• Stepping back is important. It’s easy to get lost in the details when you’re working on a painting. Stepping back and taking a fresh look can help you to see the overall composition and identify any areas that need improvement.
• Mistakes are learning opportunities. Don’t be afraid to make mistakes. They’re part of the learning process. The important thing is to learn from them and keep practicing.

Overall, I had a really positive experience painting this portrait. It was challenging, but it was also incredibly rewarding. I’m excited to continue exploring the world of oil painting and see what else I can create. If you’ve been thinking about trying oil painting, I encourage you to give it a shot! It’s a wonderful way to express your creativity and learn a new skill.

Final Thoughts: The Journey of an Artist

This first foray into oil portraiture was more than just an artistic endeavor; it was a journey of self-discovery. I learned not only about the techniques of oil painting but also about my own patience, perseverance, and creative potential. It’s amazing how a blank canvas can become a mirror reflecting not just a likeness, but also the artist’s growth and passion. I’m already looking forward to my next painting adventure, armed with the lessons learned and a renewed enthusiasm for the art of oil painting. So, what do you guys think? Are you inspired to pick up a brush and try something new? Let me know in the comments!