Skull Oil Painting đ Still Life from Start to Finish
Setup and Preparation Stages
Before I start a painting, I like to come up with a couple of thumbnails to nail down the composition. I do these from imagination usually. So in these ones, I played with the placement of the skull, the direction of the lighting, and the orientation of the canvas. After coming up with these 4 thumbnail sketches, I got kind of a better idea of what I actually want from my painting.
Also, it sort of helps to have a thumbnail completed to use as reference when I start my painting because if I donât have anything to look at itâs possible that when I start from scratch on my canvas, my subject will end up too big, or even worse, run off the page or something.
Composition is a bit of a feeling thing along with some guidelines. Itâs not like stiff rules that you must follow. So having said that, I think I like sketch 1 and 3 the most.
You know, since the color temperature plays such a big role, I digitally painted this sketch with some invented color before actually making the setup, just to give an idea of what kind of mood this painting would be. And it also gave me an opportunity to plan some of the painting methods and steps that Iâll use in the actual painting process.
Okay, so with the sketches in mind, letâs put together the setup that I will paint from today.
Execution of the painting
So a big challenge to overcome here with this skull is that I want to paint it in the dark for a more dramatic and moody atmosphere since itâs Halloween and all, but at the same time, I want myself and my easel to be in the light so I can see and we can make this video.
Sadly, the candle doesnât provide a strong enough light during the day, so weâre going to use a warm lamp instead.
Since we donât want to burn the house down though by lighting that black box on fire, I think our candle shouldnât be lit at the beginning stages of the painting.
Iâm using a portable paintbox today that makes it convenient for me to paint anywhere I go.
For my brushes, I plan to use a lot of bristles because I want to load this painting up with a lot of thick paint, but I also packed a few softer brushes to get some soft edges in there too.
As my painting surface today, I am using an 11Ă14 linen panel. Itâs actually one of my favorite sizes for life paintings.
I paint with a few different brands of oil paint, but thereâs no need to name them or be concerned with what they are. Whatâs really important about that is that theyâre professional grade and theyâre not the student grade which are very difficult to paint with. It just doesnât work, itâs like toothpaste, so just donât even get it.
Okay, letâs squeeze out our paint. And donât be afraid to use a lot. For the longest time, Iâve been so shy with squeezing out my paint. Itâs been taking me years to paint thicket and thicker, and I gotta tell you, if you can skip all these years of being shy and just get straight into it and load up a lot of paint, it will save you a lot of trouble.
On my palette today we have:
Titanium White, Warm White, Cadmium Yellow Light, Cadmium Yellow Medium, Cadmium Yellow Orange,Yellow Ochre,Transparent Yellow Oxide, Cadmium Red, Transparent Red Oxide, Transparent Brown Oxide, Raw Umber, Alizarin Crimson, and Cobalt Blue.
Underpainting and Drawing Stage
The very first thing I like to do when starting a painting is to tint the canvas. But you have to select your tinting color wisely, because itâs going to provide the underlying temperature to the whole piece. I often let this initial tint show through all the way to the end of the painting, particularly in the shadows.
In this case we have a very warm light on our subject so we can expect our painting to be pretty warm. Iâm going to tint this canvas with that in mind by using something really warm like transparent red oxide, and I will mix it with a bit of Cadmium Yellow Medium in the area where the candle will go because later, all this warm underpainting should give this skull a nice inner glow. I am diluting my paint with gamsol here when I do my initial washes, because makes the paint behave like a watercolor, which is perfect for making a stain.
Okay, so now that our canvas is tinted, we can start to draw our linear lay-in on top of our stain. My favorite tool to do that with is actually a hard bristle brush. The reason why is that those stiff hairs, they allow me to get nice straight lines which are the exact type of lines that I find helpful at this stage to simplify the contours of everything that Iâm drawing and to find those big shapes.
Donât worry, weâre going to complicate these lines later when we go to paint them!
As you draw your lay-in, donât forget to focus on the big shapes and the proportions of what youâre drawing. Donât get carried away on details and things like that because itâs way too early at this stage. Simplify everything to its most basic elements. Find the big shapes and donât mind the secondary forms for now. It also kind of helps to keep your horizon line in mind when you draw your lay-in. For example, in my case, Iâm sitting below the skull and looking up at it.
You have to ask yourself, are you looking up at the your set-up, or are you looking down at it? And, whatever the answer is, you have to design your lines with that in mind.
So if youâre noticing that your drawing is off at this stage, donât be shy to move lines around until you get it right. Trust me, youâre gonna be saving yourself a lot of headaches if you fix things at this early stage than if you try to fix them later on when you have a lot of opaque paint down on your painting.
So right now Iâm filling in the dark shapes on my underpainting because I find that it helps me see my mistakes better when I fill in the big dark shapes. With these dark shapes filled in, itâs much easier to judge the distances on your drawing.
At this point I often like to take a kneadable eraser, or more often a napkin, and rub out the lightest areas. This helps me establish the light source a lot sooner before I even lay down the opaque paint. Just make sure to do this before your stain is dry, or else you wonât be able to do it anymore. You usually have about 10 minutes max depending on your surface before your wash dries, so be careful.
My goal here is to establish the big values, shapes and color temperatures as soon as I can, so to do that, I am going to cover the entire skull with some opaque paint, aiming primarily to tell the story of the lighting thatâs hitting our skull. I am thinking a lot about color temperature. Our primary light is warm, so Iâm mindful that my the parts that are in the light are going to stay warm. Often times, students want to lighten an area, so they grab a bunch of white. White is actually the coldest color, so the result of that is that the value of the area goes up and it does become lighter, but at the same time, the temperature goes a lot colder.
This is actually great if your subject is in a cold light, like maybe a North lighting window. But in our case, our subject is in a warm light, so thatâs no good for us. When you want to lighten an area thatâs in the light, consider using a color to lighten that area. In this case, to lighten my mixtures, Iâm going to include some cadmium yellow medium, cadmium yellow, and transparent yellow oxide in my light mixtures to keep it warm. But conversely, if you want to darken an area, a lot of students reach for the black to darken things, and that creates a cold mixture as well. Try darkening a shadow with a warm dark. Something like transparent red oxide, transparent brown oxide, or alizarin crimson.
While youâre putting down that initial opaque paint, a good principle to work by is to paint the lights thicker and the shadows a little bit thinner. So that means you canât be afraid to lay down some serious paint in the lights. If you keep the shadows more thin and flat, then the lights are going to feel more luminous in comparison. And I also love to let my warm underpainting show through in places in the shadows.
When you have dramatic lighting like this, you are bound to see a lot of contrast. Letâs make sense of all of it this way:
Since most of our subject is lit, make sure that the amount of values you use in lights is higher than in the shadows. In other terms, make the shadows more flat and have less values, like you could make the shadows just one value so that it looks a lot simpler than your halftones and your lights. As a result, the shadows will have less information in it than the parts that are lit.
I am thinking of the skull as an egg, with the closest part receiving the most light, and the parts farther away receiving the least amount of light. If the underlying âeggâ of the skull reads well, then you are gonna be in good shape!
Our halftones are the most chromatic and the most information-dense parts. So in our case they are going to be the warmest parts of the skull. The lightest lights are pretty washed out, but theyâre still warm.
To see the finishing touches make sure to watch the video below.
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