The art of portrait

The art of portrait painting in oil colours

This informative book on portrait painting has been preserved for generations and fully deserves to to be available to all portrait artists online. While the art of portraiture has moved on, much of what was written is still valid and relevant to the modern day portrait painter.

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PALETTE FOR THE SECOND AND THIRD PAINTINGS

The colours and tints for the second and third paintings will be arranged as directed for the first painting.

 

White

Naples Yellow Yellow Ochre Raw Sienna Vermilion Light Red Venetian Red Indian Red Rose Madder

 

Ivory Black

Purple Madder Indian Lake Brown Madder Burnt Sienna Ultramarine Emerald Green Terre Verte Raw Umber Vandyke Brown

 

For the highest reflections, such as in certain subjects may occur on the forehead,

Pure White

 

which, having been laid as a preparatory ground, is scumbled over with White and Naples Yellow.

 

SECONDARY LIGHT White and Naples Yellow

 

HIGHEST TINT White, Naples Yellow, and Rose Madder

 

The following tints may be strengthened, or reduced, in order to imitate the complexion, according to the proportion of White, Red, or Yellow of which they may be composed :

White, Raw Sienna, and Rose Madder

White, Raw Sienna, and Indian Red

White, Naples Yellow, and Indian Red

White,  Naples Yellow,  and  Rose  Madder,  qualified with a

little Ultramarine White, Mars Orange, and Rose Madder

 

The following set is less transparent than the preceding, and therefore not so generally eligible :

White and Naples Yellow                     

White, Naples Yellow, and Vermilion

White, Yellow Ochre, and Vermilion

White and Light Red

White and Venetian Red                                    

White, Raw Sienna, and Vermilion

 

CARNATION

White and Rose Madder White, Rose Madder, and a little Indian Red White, Rose Madder, and a little Light Red White, Rose Madder, and a little Raw Sienna

 

CARNATIONS OF A LOWER TONE

White and Indian Red White and Purple Madder White and Indian Lake

 

FLESH TINTS IN HALF TONE

White and Brown Madder

White, Brown Madder, and Burnt Sienna

 

GREEN TONES

White and Terre Verte White, Naples Yellow, and Ultramarine White, Yellow Ochre, and Ultramarine White, Raw Sienna, and Ultramarine

 

GREEN GREYS

White, Terre Verte, and Indian Red White, Naples Yellow, Indian Red, and Ultramarine White, Raw Umber, and Ultramarine White, Raw Umber, Indian Red, and Ultramarine

 

WARM GREYS IN HALF LIGHT White, Light Red, and Emerald Green

(This mixture-a soft warm Grey-is capable of giving most beautiful tones, varying from cold to warm, according to the proportion of Green or Red.)

 

GREYS

White, Ultramarine, and Indian Red White, Ultramarine, Indian Red, and Raw Umber (This tint is most valuable ;  it is capable of any depth of tone.) White, Black, and Light Red White, Brown Madder, and Black White, Light Red, and Ultramarine

 

PURPLE TONES

White, Rose Madder, and Ultramarine White, Indian Lake, and Ultramarine White, Purple Madder, and Ultramarine White, Indian Red, and Ultramarine

 

DEEP SHADOW Raw Umber

Raw Umber and Light Red Indian Red, Raw Umber, and Black Vermilion and Black

 

DEEP GLAZINGS Indian Lake Brown Madder Raw Sienna and Indian Lake Raw Sienna and Brown Madder Lake and Burnt Sienna Light Red, Indian Lake, and Vandyke Brown

 

HAIR TINTS-LIGHT White, Naples Yellow, and Raw Umber White, Yellow Ochre, and Vandyke Brown White, Raw Sienna, and Raw Umber White, Yellow Ochre, Burnt Sienna, and a little Black

 

HALF TONES The same as above, with less Yellow, and mixed with the flesh deep Greys.

DEEP SHADOW Raw Umber Vandyke Brown

Raw Sienna and Vandyke Brown Raw Umber and Brown Madder

 

BROWN HAIR Raw Umber

Raw Umber and Vandyke Brown Vandyke Brown Cappah Brown

 

SHADING FOR BROWN HAIR

The deep Grey to be painted into the shadows, and pure Brown Madder worked into that ; or Vandyke Brown and Brown Madder mixed ; or Brown Madder and French Blue. The great beauty in painting hair is to let the Greys be seen through the local colour.

 

DELICATE COMPLEXIONS

 

For those of ladies and children, the following tints may be used, the White predominating in each :

White, Naples Yellow, and Rose Madder The same toned with Ultramarine White, Raw Sienna, and Rose Madder White, Naples Yellow, and Indian Red White and Rose Madder White, Rose Madder, and Light Red Rose Madder and Raw Umber Rose Madder and Raw Sienna White, Light Red, and Emerald Green

 

Such complexions should not be glazed before the portrait is retouched ; it will be enough simply to oil it.

For complexions of strong, ruddy, and mellow hues, the following tints will be found useful; in these the Yellows and Reds will prevail:

White, Raw Sienna, and Rose Madder White, Yellow Ochre, and Vermilion White and Light Red White, Light Red, and Yellow Ochre White, Mars Orange, and Rose Madder White, Terre Verte, and Indian Red Raw Sienna and Rose Madder

 

Such complexions may be toned with Raw Sienna and Rose Madder before commencing the second painting. A charming effect is produced by working into this glaze.

 

 

                                       INCIDENTAL TINTS

 

From among the following tints may from time to time be selected some which may be found to meet peculiarities. They are adapted to every kind of complexion.

 

REDS, SLIGHTLY VIOLET, SOMETIMES SEEN IN THE LIPS, NOSTRILS,

AND EARS

Purple Lake and Light Red

The same, reduced by White

 

HALF TINTS,  OR PASSAGES  IN  WHICH  THE  SKIN  IS  EXTREMELY

THIN

White, Purple Lake, and Light Red, and Ultramarine BLUISH TINTS TO COOL PASSAGES THAT HAVE BECOME TOO FOXY

Terre Verte and White

Terre Verte, Rose Madder, and White

Ultramarine and White

 

HALF TINTS AND RETIRING

Vermilion, Yellow Ochre, and Blue Black Same, with White

 

BROKEN   BLUISH  AND   GREENISH   HUES  OCCURRING  ROUND  THE

MOUTH AND CHIN

Ultramarine, Yellow Ochre, Madder Lake, and White Madder Lake, Blue Black, Yellow Ochre, and White

 

A VARIETY OF STRONG GREYS

which, in proportion as they are reduced by White, or forced with the stronger colours, are fitted for half tints, retiring passages, and approaching the deeper shades:

Vermilion, Blue Black, and White

Vermilion, Yellow Ochre, Black, and White

Light Red, Black, and White

Light Red, Yellow Ochre, and White

Indian Red, Black, and White

Indian Red, Black, White, and Madder Lake

Black, Madder Lake, and Naples Yellow

 

FOR STRENGTHENING SHADES

These receive a warm or a cool tone, according to the prevalence of Red and Yellow or Black :

Indian Red, Brown Ochre, and Black

The same, with the addition of Naples Yellow

 

SHADE AND GLAZING TINTS

composed without White, for the sake of obtaining depth and purity. They are also employed in reflexes, and for the modification of warm tones :

Black, Brown Ochre, and Purple Lake

Blue Black, Brown Ochre, Purple Lake, and Naples Yellow

Light Red, Naples Yellow, and Black

 

For decided touches about the mouth, nostrils, and eyes in a strongly shaded head :

Purple Lake and Burnt Sienna                                        ‘

Burnt Sienna and Vandyke Brown

 

 


About John Payne

Pet Portraits     Art for sale - oil paintings

I’ve been a professional portrait artist for the last 12 years but have been painting for a lot longer . I started out by painting nothing but seascapes and still do the odd one from time to time , I then moved onto landscapes and wildlife paintings before I finally decided to concentrate on portraits.

I get commissioned to paint a lot of pets , mainly dogs – but I also get to paint a fair amount of portraits of people.

more about John                                                                  John Payne       

 

 

 

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