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Paint a Portrait Like a Renaissance Old Master

Updated on September 26, 2014
"Portrait of the Rock Star in Oriental Costume" - photograph and original artwork by the author, sockii.
"Portrait of the Rock Star in Oriental Costume" - photograph and original artwork by the author, sockii.

Creating a Portrait in a Classical Style

There's something about the classical portraits of the Renaissance era that still holds great fascination and awe for today's art lovers. Yet the techniques used in creating such works of art are reasonably straightforward and easy to apply, as long as you work methodically and with precision. Here I will present a step-by-step guide as to how I turned a photograph of one of my favorite rock stars, Stewart Copeland of The Police, into an Old Master-style oil painting.

The techniques I used were a combination of those I have learned from a number of different art instructors and realist painters who have studied the methods of the classical artists in great detail. I particularly use some of the verdaccio underpainting techniques taught by Frank Covino, which are especially effective for achieving lifelike, realistic flesh tones.

The Reference Photo

A Good Portrait Begins with a Good Photograph

Here was the original reference photo I used for the painting. It came from an old Police fanclub magazine, a photoshoot where the band was posing in different traditional Asian costumes. I have always loved painting complex fabrics and materials so this picture seemed as though it would be a lot of fun for me to work on.I knew from the beginning I wanted to get rid of the original background pattern behind Stewart as it would look much too busy in a painting. I also decided to crop the image to fit pleasingly onto a 16"x20" canvas board before proceeding on to the drawing stage. I did this using photo software on my computer, where I also stripped the color out of the image so I would have a pure black and white value reference with which to work.

Charcoal Sketch or "Underdrawing"

Planning the Portrait Painting

I used the traditional "grid method" of drawing to begin my painting. This method helped me resize the original 8"x10" cropped photo to a 16"x20" canvas board, maintaining the proportions as accurately as possible. Although the drawing would be completely painted over, I tried to be as exact as possible in starting to place facial features, light and shadow areas in charcoal. The canvas surface had previously been prepared with acrylic gesso mixed with marble dust, to make the surface more absorbent and durable.Once I had the main features placed, I carefully erased as many of the charcoal gridlines as possible and blended the charcoal with a bristle brush.

Initial Opaque Coloring

Building the Basics for the Portrait

Although I often paint a complete monochrome value study over my charcoal drawing, for this painting I decided to go directly to color except for the face. Part of the reason for this was the image had so many very vibrant colors that I wanted to preserve their qualities and not subdue them or have them dampened by the underpainted colors. Another reason was I had just taken a class on painting the costumed figure at the Pennsylvania Academy of Fine Arts, where my instructor did not utilize highly developed underpaintings, so I wanted to try his approach. Developing your own painting style often means experimenting with and trying the techniques of others, to figure out what works best for you.

Before proceeding, however, the entire drawing was sealed with several coats of fixative spray so the charcoal would not mix with the paint. I used Cadmium Red, Burnt Sienna, and Ivory Black to opaquely paint the red plume of feathers, and a lightened version of these colors mixed together for the background. I also used Ivory Black to begin covering the darkest area of the jacket and lightly glazed over the hair with Burnt Sienna to test the color.

Sealing the Underdrawing - Fixative Spray is a Must When Painting Over Charcoal

Krylon K01306 Workable Fixatif Spray Clear, 11-Ounce Aerosol
Krylon K01306 Workable Fixatif Spray Clear, 11-Ounce Aerosol

You don't want your oil paint to mix with the charcoal underdrawing. Therefore a product like Krylon Workable Fixatif is a must to seal that drawing, and it will not interfere with the application of oil paint on top of it.

 

Color Blocking

Establishing Basic Tonal Values

In the next step, I began working on the costume and the hat's metal accents. These I blocked in opaquely with a mixture of Yellow Ochre, Burnt Umber, Cadmium Orange, other earth tones and Titanium White to create varying values and colors. At this point I was ignoring most fine detail and just trying establish a base tonal value. By doing so, even at this early stage, a sense of depth and volume begins to take shape.I also added another layer of opaque paint to the background, lightening it somewhat on one side to create more of a sense of shadow on the other side.

In all stages of the painting process, I used Windsor & Newton's Liquin as my painting medium, which helps the oil paint dry faster and spread more evenly when applied in both thin glazes and thick coatings.

Flesh Tone Verdaccio and Finer Details

Beginning Monochromatic Work on Facial Details

This next image illustrates two steps in the painting process underway. First, details were gradually added to the metal decorations on the costume, now that the base colors had been blocked in. Then, I also began to tackle the face but in a monochrome underpainting known as a "verdaccio." For the verdaccio I mixed Mars Black, Greenish Umber and Titanium White for a series of ten tonal values. The goal of the verdaccio is to establish the values and facial details as accurately as possible, so that in the next step all one has to do is worry about color.

By tackling these aspects of the painting in such a methodical manner, it was much easier to achieve a reasonable likeness. In fact, I refined the verdaccio over the course of several days to make sure there was both a thick enough coat of paint in place over my charcoal drawing and that it was truly as accurate as possible.

The Perfect Verdaccio Paint - A Great Oil Paint for Verdaccio Technique

Sennelier Artists' Oil Color - Greenish Umber - 40ml Tube
Sennelier Artists' Oil Color - Greenish Umber - 40ml Tube

Although some artists mix their verdaccio by combining Mars Black and Yellow Ochre, I prefer working with already prepared Greenish Umber paint. This makes mixing a series of verdaccio values quick and simple, and the greenish umber hue is just about perfect for creating a good undertone for most flesh tones.

 

Verdaccio Refinement

Perfecting the Details Before Adding Flesh Tones

Here you can see how on a second application of paint, the verdaccio of the face is much more refined. It is always tempting to want to rush into color, but being slow and methodical in the underpainting stages such as this one will pay off well in the final product. I also continued to work on the costume details, moving slowly right to left (since I am left-handed and this made it less likely to smudge my work when using fine-detail brushes.)

Important!

Each step in this painting process was only begun after the previous layer of paint was fully dry. The idea was to build layers of paint and color, opaque and transparent, without them mixing on the canvas. This is why use of a quick-dry medium such as Liquin was so important.

The Flesh Tone Palette

Limited Colors to Achieve Brilliant Results

Verdaccio underpainting gives flesh tones a unique richness, as can be seen here as I have just begun to apply color over the greenish umber underpainting. My flesh palette contained Cadmium Orange, Yellow Ochre, Raw and Burnt Umber, Red Ochre, Titanium White and Ivory Black. I played with the application of color as necessary, trying to follow a guideline of not mixing more than three of these colors together at any one time. This rule helps keep the colors strong and from turning muddy and gray. In areas of shadow, such as where the hairline meets the side of the face, I was able to even simply apply a thin glaze of Umber over the verdaccio, allowing the green and brown to create a perfect dark flesh tone hue.

I also started darkening the background to give it more of an Old Master feeling.

Cadmium Orange: A Flesh Tone Essential

Old Holland Oil 40Ml Cadmium Orange
Old Holland Oil 40Ml Cadmium Orange

Although expensive, Cadmium Orange is a color I recommend as an absolute must in a flesh tone palette. Only a very small amount is necessary, mixed with Titanium White, to create a good basic light skin tone which can then be muted or darkened with Earth tones such as Burnt Sienna or Yellow Ochre. Invest in a good tube of Cadmium Orange (Old Holland is some of the finest) and you will see the difference in your flesh tones immediately.

 

Completion of Basic Color Application

Building the Realistic Illusion

At this stage of the process, the entire painting had been covered with at least two layers of color paint. I could then move on to refining details further with color glazes, highlights, and minor corrections if necessary to improve the impression of near photographic realism. I tried to blur the edges of the costume and hair into the background to emphasize a feeling of depth and volume. One trick of classical painting is to realize that the camera over-sharpens and flattens images compared to real life. So to avoid the dull look of "photo-realism," an artist has to understand how the eye, opposed to the camera lens, truly perceives the world around us.

Background Shift

The Major Impact of Background Color on the Portrait

Something was bothering me about the painting overall, and I realized it was the background. Most Renaissance portraits feature the figure against a dark background, so I decided to apply a heavy glaze of Burnt Umber and Burnt Sienna over my earlier efforts. This helped the central figure "pop out" of the painting considerably and give it even more of an Old Master feeling. If I had not liked the look of the glaze, I could have wiped it away quickly, as the layers beneath the glaze were set and fully dry.

Flesh Tone Adjustments and Detail Work

Glazing and Opaque Highlights

The influence of the background on how the central figure appeared was evident in how much lighter the flesh tones looked after I darkened the background. I toned this contrast down with some further glazes and opaque color applications to the face. Details throughout the painting were refined with further glazes of Ochre, Indian Yellow, other colors and some opaque highlights to pop out the shine of the metal ornaments.

For Safe Brush Cleaning... - Keep Your Tools Clean and Fresh with Turpenoid Natural

Martin/ F. Weber Weber 15.9-Ounce Natural Turpenoid
Martin/ F. Weber Weber 15.9-Ounce Natural Turpenoid

I like Turpenoid Natural for cleaning and conditioning my oil painting brushes. It is natural and non-toxic, making it perfect for home-studio use. It simply rinses out with water and can even do a good job of reconditioning old brushes which were caked up with dry paint or otherwise damaged.

 

Finishing Touches for my Classical Portait Painting

Completing the Final Details

The painting was finally finished with some last details around the eyes, and glazes on the background to blur the edges more and create an illusion of depth. Once the painting was fully dry, it was varnished for protection and to give it a unified gloss finish.All told this painting took several months to complete, as it was so demanding of concentration and detail work that I frequently took breaks away from working on it to tackle some simpler projects. Breaking up the painting process also allowed me to keep going back to the painting with "fresh eyes" and see things to adjust and correct that I had missed in earlier work sessions.

Stewart meets Stewart!
Stewart meets Stewart! | Source

Subject Meets Portrait

In Which Stewart Copeland Today Meets With His Image From Yesterday...

I was thrilled to be able to get a print of the painting to Stewart Copeland himself during The Police reunion tour in 2007. I even offered to present him the original as a gift but he insisted it deserved to be "hanging in the Louvre" someday. As it now stands, it hangs in my living room and is one of my few paintings with which I refuse to part. But if you'd like to see some of the artwork I do have for sale, please visit my personal art website Nicole Pellegrini. There you can order prints, related merchandise, and view more of my portfolio of paintings.

Further Reading on Classical Painting Methods - One of the Best References on Traditional Oil Painting Methods

Controlled Painting
Controlled Painting

Many of the painting techniques used here, such as the verdaccio underpainting, are explained in great detail by Frank Covino in this wonderful book. Although out of print you can usually find a used copy for sale on Amazon. It is worth tracking down as it is one of the finest volumes on how to achieve the look of an Old Master painting using a methodical, easy-to-follow approach.

 

Frank Covino Books and Videos on eBay - Learn more about my painting methods

If you can't find a copy of "Controlled Painting" at a reasonable price on Amazon, check eBay. You may also find some of Covino's other excellent books and DVDs for sale.

Sockii's Art Tutorials on Squidoo - Want to learn more? Check out my other tutorials on HubPages

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Please let me know what you thought of this tutorial and if you would like to see more step-by-steps through classical painting techniques from me in the future.

© 2011 Nicole Pellegrini

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    • TreasuresBrenda profile image

      Treasures By Brenda 2 years ago from Canada

      Great instructions. I like the idea of starting from a good photograph!

    • Randall Guinn profile image

      Randall Guinn 3 years ago from Pinellas Park, Florida

      A great article by a very talented artist.

    • sockii profile image
      Author

      Nicole Pellegrini 3 years ago from New Jersey

      LOL, Robert! Believe me, I have seen people come into a workshop with no experience painting or drawing whatsoever and leave with a beautiful painting. It's such a scientific approach that many people can become proficient in the technique...of course, making the next leap into artistry is the challenge.

    • robertzimmerman2 profile image

      Robert Zimmerman 3 years ago from SE Florida, USA

      Very informative but how does it work if all you can draw is stick figures?

    • sockii profile image
      Author

      Nicole Pellegrini 4 years ago from New Jersey

      @anonymous: I use damar varish and wait for several months to make sure the painting is fully dry first.

    • profile image

      anonymous 4 years ago

      What kind of varnish did you use at the end? or was it mixed into your medium? Did you just apply the varnish right after the last layer was dry or did you wait a few months?

    • profile image

      anonymous 4 years ago

      A generous and invaluable lesson here - I visit to refresh my memory frequently. Thanks for sharing.

    • AceofHearts profile image

      AceofHearts 4 years ago

      Had to vote for this lens as the best I viewed in 2012! Thanks for sharing these important techniques. I loved it!

    • sockii profile image
      Author

      Nicole Pellegrini 4 years ago from New Jersey

      @anonymous: Goache and watercolor can work to an extent - I have tried some of the techniques and the glazing applications can certainly work in watercolor, and some of the pre-mixing of colors for gouache. But, it is more tricky than with oil painting because underlayers can get muddied with fresh applications of color washes - whereas with oils, once an underlayer is dry you can paint on top of it easily.

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      anonymous 4 years ago

      Wonderful Tutorial! I'm a great admirer of classics and old renaissance works so this will help me greatly! My question though is can you apply this technique with mediums like watercolour and gouache?

    • Deadicated LM profile image

      Deadicated LM 5 years ago

      Awesome, you are very talented; thanks for the inspiration.

    • profile image

      soaringsis 5 years ago

      I would love to be able to do what you do with your art. You make it sound so easy.

    • profile image

      anonymous 5 years ago

      I liked your demonstration, but I would like hear more in depth analysis of how warm color gradually becomes cooler and looses intensity as the light travels from lighted area to the shadow area. Some more theory and prinsiples behind color transitions rather then just names of pigments you are using, if you understand what I mean.

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      djroll 5 years ago

      You have a beautiful gift of painting and teaching. Thank you.

    • Millionairemomma profile image

      Millionairemomma 5 years ago

      Totally inspiring! Everyone can see the process of this painting technique!

    • firstcookbooklady profile image

      Char Milbrett 5 years ago from Minnesota

      How awesome is that... the picture you painted of the band member and then you showed it to him... cool! I painted a picture of some boats in Grand Marais Harbor and made a wooden frame and gave it to the person who runs the Blue Water Cafe. The cafe truly inspired me to paint because of the objects used to decorate it, so I gave them the piece I painted.

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      anonymous 5 years ago

      pls, i wll like to lean

    • profile image

      julieannbrady 5 years ago

      What an artistic tale ... you know, I would sincerely love to be able to paint a portrait. You've given me hope that some day I might be a master.

    • kathysart profile image

      kathysart 5 years ago

      YOU are my new hero.. LOVE your lenses and thank your for your generosity. Angel blessed.

    • profile image

      anonymous 5 years ago

      Wonderful lens. thanks

    • profile image

      jimmyworldstar 5 years ago

      Great tips, although I thought paintings of the era were in the profile view?

    • skefflingecho profile image

      skefflingecho 5 years ago from Tobermory Ontario

      Wonderful lens. You have so much talent and obviously love what you do! So cool he got a print and you met him too! Blessed.

    • curious0927 profile image

      curious0927 5 years ago

      I would love to see more step-by-steps from you! Great lens, I don't want to leave, but will, to look at more of your outstanding work. I dabble in drawing and painting, even won a place in the yearly magazine in community college for a color pencil drawing! Like you, I've made and sold jewelry on a much smaller scale, however one of my favorite crafts. Thanks for the wonderful tutorial, book marked, liked, and of course Blessed!

    • Paul Ward profile image

      Paul 5 years ago from Liverpool, England

      Late return to add a Blessing - I wasn't an Angel when I first saw this.

    • jadehorseshoe profile image

      jadehorseshoe 5 years ago

      Multiple Return Visitor. ... Sam Shaker's new book has some similar good tips, too.

    • profile image

      seosmm 5 years ago

      Beautiful work and very nice lens!

    • profile image

      scss 5 years ago

      This is a glorious painting, and your tutorial is just perfect! Loving your work - on my way to checkout your stores.Helene Malmsio

    • sousababy profile image

      sousababy 5 years ago

      Fabulous, so glad to see raphaelo already found this. In the early 90's I went to a concert (Toronto, Canada) of Steward Copeland's . . and had a chance to get his autograph. Amazing percussionist (and the other musicians, too, on tour with him).

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      anonymous 5 years ago

      So wonderfully artistic lens of you.. dear lady sockii : I always love any kinds of art, especially the charming of its renaissance art. I do fall in love with all your beautiful and great tips, information and guide here. Thank you so much for making my day. 5 art loving stars for you. Tweeted to all my fans. Have wonderful times.. always :D

    • profile image

      KarenCookieJar 6 years ago

      Wow, that's beautiful, I was I had half as much painting talent.

    • EMangl profile image

      EMangl 6 years ago

      Maybe one day i give it a try to paint

    • Johanna Eisler profile image

      Johanna Eisler 6 years ago

      Positively beautiful work! How generous of you to share each painstakingly perfect step with others!

    • profile image

      marsha32 6 years ago

      Jane of all trades---that's me too. Nice lens.

    • LaraineRoses profile image

      Laraine Sims 6 years ago from Lake Country, B.C.

      Very fine!!! I couldn't do that if I took several YEARS!

    • LaraineRoses profile image

      Laraine Sims 6 years ago from Lake Country, B.C.

      Very fine!!! I couldn't do that if I took several YEARS!

    • hysongdesigns profile image

      hysongdesigns 6 years ago

      great lens! I love painting in a similar manner, even tho I use acrylics and generally paint animals, not people, the principles are the same.

    • profile image

      JannaB 6 years ago

      What a lot of work you put into both the painting and this lens. Wish I had some of your talent!

    • profile image

      SandyPeaks 6 years ago

      Delightful lens, very impressive painting too!

    • profile image

      NZHarris 6 years ago

      You did an excellent job. On the painting and the on the lens!

    • Diana Wenzel profile image

      Renaissance Woman 6 years ago from Colorado

      Truly impressive! You have THE gift. Loved seeing how you made the magic happen. Congrats on LotD!

    • profile image

      AlleyCatLane 6 years ago

      Fascinating lens. Beautiful work.

    • Scarlettohairy profile image

      Peggy Hazelwood 6 years ago from Desert Southwest, U.S.A.

      Well, you are a master artist. I don't have the patience (or skill) to paint like that. You are so talented! Great instructions and details.

    • profile image

      anonymous 6 years ago

      Fabulous! Congratulations on your Lens of the Day, most deserving!~ Blessed by a Squidoo Angel ~

    • Srena44 profile image

      Srena44 6 years ago

      awesome lens

    • AgingIntoDisabi profile image

      AgingIntoDisabi 6 years ago

      What a great lens. Art is not my strong point, but I appreciate the effort and talent it makes to create something so beautiful.

    • profile image

      Natural_Skin_Care 6 years ago

      I love the old masters, especially the Flemmish style. Thanks for a great lens!

    • profile image

      DebMartin 6 years ago

      Okay, I'm impressed. And a little intimidated. Nice work.

    • sheilamarie78 profile image

      sheilamarie78 6 years ago

      What a fantastic step by step instruction! I haven't used oils for years. You've reminded me how wonderful they are to work with. I only play with paint. It's fascinating to see how you work.

    • profile image

      happynutritionist 6 years ago

      Hello from a NJ neighbor up north, loved following your step by step. I don't paint, but love looking at art and how it's done, lots of artists in the family. Congrats on the LOTD.

    • profile image

      editionh 6 years ago

      What an ambitious project and what a great painting! Event though you explain the process it still is kind of magic how you could do it :). The painting is much more interesting to look at than the photography you started from.

    • AceofHearts profile image

      AceofHearts 6 years ago

      Dear Jane-of-All, Lovely, lovely lens! I saved it to my favorites, i liked it, fb'd and I am thrilled that you answered the flesh tone issue that has been plaging me for sometime! I am so happy for you making lens of the day. Congrats and mostly thank you!

    • Faye Rutledge profile image

      Faye Rutledge 6 years ago from Concord VA

      Interesting lens. Congratulations on LotD!!

    • Michey LM profile image

      Michey LM 6 years ago

      This is amazing technique, a lot to learn and practice.

    • chezchazz profile image

      Chazz 6 years ago from New York

      Congratulations and Bravo! What an incredible lens and such talent! Well presented and informative too. I'm off to read more of your related lenses. Congrats again!

    • profile image

      GrowWear 6 years ago

      Congratulations for your LOTD here. I so admire your talent.

    • RawBill1 profile image

      Bill 6 years ago from Gold Coast, Australia

      Wow, you have done an amazing job with the painting. You are very talented. Congrats on LOTD. Well Done! :-)

    • indigoj profile image

      Indigo Janson 6 years ago from UK

      Very cool. Congratulations on producing such a great work of art. What a well-deserved LOTD!

    • profile image

      TravelingRae 6 years ago

      Impressive. I took painting lessons for years and couldn't have come anywhere near these results. You have talent!

    • profile image

      dfishbac 6 years ago

      Congrats on your LOTD. What a beautiful portrait! I don't think I have your patience but it is really interesting to see how you developed the painting, beginning to end.

    • justholidays profile image

      justholidays 6 years ago

      It's a superb painting! I like renaissance paintings and this one looks really like one of the age. This being said, I'd definitely need a way to preserve my paintings from cigarette smoke, that thing makes the beautiful paintings a real mess.Congrats on your LOTD!

    • Heather426 profile image

      Heather Burns 6 years ago from Wexford, Ireland

      wow!

    • LisaAuch1 profile image

      Lisa Auch 6 years ago from Scotland

      My goodness me this is amazing, I am overjoyed it has been recognised as it truly is a work of art! How cool was that, actually giving Stewart Copeland a copy too. it was so interesting to read how you actually brought it all together.

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      yammi 6 years ago

      Amazing, always wondered how one could do paintings with such great Detail and Expression.HolgerAmidalla Searchengine

    • Charlino99 profile image

      Tonie Cook 6 years ago from USA

      Wonderful! Excellent online tutorial.

    • squid-janices7 profile image

      squid-janices7 6 years ago

      Wow - so talented and thanks for sharing the process. Congrats on LOTD!

    • amkatee profile image

      amkatee 6 years ago

      It's so cool to look at the process. Not being an artist, I just look at it in too simplified of a method. Art is more complicated than I thought! And totally cool that he owns a copy!

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      Mortgage411 6 years ago

      Very cool! THanks fo rsharing your art (and your process!).

    • jodijoyous profile image

      jodijoyous 6 years ago from New York

      Congratulations! Well done!

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      Lady-Ellen 6 years ago

      Wow...amazing work. I learned a lot here. Thank you so much for taking the time to explain this all

    • nebby profile image

      nebby 6 years ago from USA

      What a great lens and love the story. How wonderful to actually have a photo of Stewart Copeland with your painting -how cool is that!Congratulations on LOTD.

    • profile image

      anonymous 6 years ago

      This is a lovely piece of art. Congratulations on LotD!

    • pkmcruk profile image

      pkmcr 6 years ago from Cheshire UK

      Congratulations on a well deserved LOTD for this wonderful lens

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      anonymous 6 years ago

      This is awesome! Congrats on a well-deserved LotD!

    • profile image

      anonymous 6 years ago

      Brilliantly done! Congrats on the LOTD - very well deserved.

    • KathyMcGraw2 profile image

      Kathy McGraw 6 years ago from California

      I too was wowed as normally I cannot follow the steps in tutorials, and your painting step by step was captivating! Congratulations on your selection for LOTD consideration...that in itself is an accomplishment. Giving this an Angel Blessing.

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      Kathryn Grace 6 years ago from San Francisco

      Wow. Truly impressive. So well done in every way. I'm going to nominate this lens for Lens of the Day. Beautiful, instructive, clear, and did I say beautiful?

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      miaponzo 6 years ago

      Wow! Absolutely amazing! Congratulations on your fantastic work!

    • jlshernandez profile image

      jlshernandez 6 years ago

      I have never tried oil painting and have only dabble din watercolor, sketching and acrylic.This lens is one I need to revisit when I am ready for my first attempt at oil painting. Thanks for sharing.

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      NYThroughTheLens 6 years ago

      This is such a great lens. I am totally bookmarking it!

    • viscri8 profile image

      viscri8 6 years ago

      Useful description of the technique -- sure helps for portrait and still lfe.Nice lens on this art topic and for sharing the skills. Keep well!

    • delia-delia profile image

      Delia 6 years ago

      OUTSTANDING!!!! amazing artwork...I love the Flemish technique and occasionally use it, but must confess am not good at it...thanks for sharing!

    • CelinaHamm profile image

      CelinaHamm 6 years ago

      The portrait is absolutely beautiful. Great colors and detail. You just keep amazing me on your many talents. I love your lenses.

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      YourFirstTime 6 years ago

      Your lens taught me a lot about nuance. Thanks!

    • sukkran trichy profile image

      sukkran trichy 6 years ago from Trichy/Tamil Nadu

      great tutorial on painting. your step by step instructions are useful. thanks. ~blessed~

    • OriginArtz LM profile image

      OriginArtz LM 6 years ago

      Woah! The drawings and colors looks nice! I love this lens. Hope to see more of your art tutorial.