http://www.painters-online.co.uk artistFebruary 2021 55p Figure Painting, oil on linen, 18 3 14in (45.5 3 35.5cm).
In this painting the model had her hair piled on top of her head, which
gave a really lovely shape and pattern and I could easily describe the top
and bottom planes of the hair. The shadow patterns are simplifi ed and the
lights balance with the background colour and the darks with the chairp Portrait Sketch, oil on linen, 15 3 11in (38 3 28cm).
This was a short oil painting sketch, but I loved the model’s short
fringe next to the long, loose hair. I also loved the freedom of the
hair, which I painted with just a couple of transparent brushstrokes,
and which contrasts with the opaque lights of the fl esh tones
Perhaps do a charcoal or pencil drawing so that colour is not part of the equation;
this will make you really focus on the values to create the form.
Likewise, when you move onto paint, do a value study before you dive into the full
colour painting. Painting or drawing thumbnails is always a good idea, as when
we draw on a very small scale, we have no option but to ignore the detail.EXERCISES Make a charcoal or pencil sketch
Play with diff erent
hairstyles
I think it’s really fun to draw the
hair without the portrait. See
if you can make sense of the
portrait likeness by just drawing
the hair (right).Try diff erent
brushes for
diff erent eff ects
Left to right: hog-hair fl at,
hog-hair fi lbert; mongoose
fl at, mongoose fi lbert.
The type of brush you use
can really help with your
painting eff ects. A soft
mongoose brush leaves
softer marks; this doesn’t
mean that you should soften
the shape. A fi lbert creates clear shapes but
because of the rounded edges also lends
softness. The fl ats create a more geometric
look, which I don’t think works so well with
hair, but some people love the crisp look. It is
fun to consider that you are painting hair with
hair, as many brushes are made from animal
hair such as hog, mongoose and sable.