Step 1: Toning the Canvas
I usually tone my canvas with a sunlight tone—warm gray (ivory black, white and a little orange); after you put shadow in, what’s left is a sunlight tone. Here I began a quick placement sketch and established the highest light somewhere about one-third up and in, on the canvas. Aside from that, as a gesture, this allows me to figure out how to get the eye moving in and out of the canvas.
Step 2: Starting with the Clouds
In this case, since the sky takes up a major portion of the painting, I placed it first. Starting with the shadows of the clouds, I used a mix of cobalt blue, ivory black and white.
Step 3: Mixing in Rocks
After laying in the shadow parts of the sky, using the same colors as in step 2, I next mixed a darker value to lay in the rocks.
Step 4: Adding Color Value
Once the rocks were in place, I began to address the green foreground by putting in some of the color to represent the beginnings of sunlight in the value of cadmium yellow deep (sunlight gray, black and white, ultramarine blue, cadmium yellow light). I also added a few darker accents.
Step 5: Laying the Sky
I next began to lay in the clear part of the sky. You can see how the toned canvas helps in the progression. If I think it works within the painting, I’ll let some of the tone show through and even allow some of it to be left undisturbed.
Step 6: The Highest Light
Finally I applied the highest light. At this point, if the values are in the right place so that the highest light reads true, you won’t have to repaint everything you’ve done. This is the major advantage of working with a prepared palette.
Step 7: Finishing Touches
I painted this piece as a demonstration. As such, I took it as far as I could in the time allotted. After the demonstration, my goal was to try to bring it to a finish with the same enthusiasm and excitement that I began with. Over the following several weeks, I looked at it more critically and made subtle changes,

Step 1 – Block in the background
Working between a number 2 and number 4 (Filbert Ivory brush) I begin to block in the background. The paint mixture is thin, yet opaque. I dip my brush into the OMS, when I say dip, I mean 2 mm. Just a really tiny amount. I then squeeze the brush tip in some kitchen roll so the brush is damp but not wet.I apply the paint with a scrubbing motion, working between the smaller brush for the details, then swapping to the larger brush for the larger areas.The initial ‘scrub in’ is quite loose, just to get a feel for the tone on the canvas. I then work over it with a larger brush to smooth out the tone. We are trying to keep the tones flat and simple so I work over any thicker areas of paint so the surface is more like a stain, rather than thick paint. Step 2 – Block in the darkest darks
I now establish the darkest area in the painting, still just using the raw umber. As I know some of these areas are even darker than the raw umber I can feel confidence to work with slightly thick paint. Again, not using too much of the OMS, it should feel like a dry brush effect and the more you ‘scrub’ the further the paint will go.Areas where the tones are very close are kept as one single mass tone. The tendency will be to want to go in and add all the little subtleties and details you are beginning to see.Like chocolate on a diet we have to learn to resist!
Step 3 – Dry brush in the shadow line
Notice how when I am applying the paint to the inner parts of the portrait I’m keeping the edges very soft. This is key when building up a portrait with this method. Hard, sharp edges are tough to cover over when you are working with thin layers of oil paint so try and keep your edges soft in these early stages.
The tendency now will be to try and grab some white and ‘get painting’ but again this is unwise- remember- start slow, so you can finish quick.

Check the drawing on your painting and check your tones are going along the right lines. You can squint your eyes at the subject which is a very effective method of simplifying tonal values.
Now have a look at the edges between the background and the edge of the head, notice how the hair and the ear are blurred. The photograph as been taken to mimic how the human eye sees, so soften the edges.
If we look at Velasquez’s self portrait notice how soft and blurred the edge of the hair next to the face is. They blend into each other so your gaze is focused on his gaze.
Step 4 – Soften the edges
To blend an edge take a dry brush (or a brush with a very little OMS if the paint is beginning to dry and you still need to blend it) and gently brush over the line. I often use sables for this, as the softer hairs enable a smoother blend. The Ivory filberts are slighly softer than a pure hog brush so are still very useful when blending, you just need to use a lighter touch.I sometimes also use a piece of kitchen roll (ideally lint free) or a cotton rag to take the edge off. And sometimes only a finger will do just to get that subtle blend (If you like the effect of using your finger for blending then make sure you apply barrier cream before you start your painting session. Be aware to wash your hands. I know I sound like your mum, but the lead used in some of the paints can be dangerous if persistently having skin contact. Step 5 – Add more shadow detail
I now put some more of the shadows into the portrait using the smaller round sable, at this stage I’m concentrating on the areas that would receive no direct light.It is important to identify what falls into dark shadows and mid tones and it is not as easy as it sounds. Really study your reference image and say to yourself :‘If I could only paint in pure black and pure white, what would I choose ?’Everything that falls into the black category is what we are concerned with at this stage.So even though some areas on my cheek are dark, I don’t put those in yet because they are halftones and will come as the portrait progresses.You want to try and keep your darkest shadows one dark tone so when you come to put in the halftones you will have more scope to model the form.I’m still keeping a flat tone and a dry brush so the effect is very soft. Step 6 – Using a smaller brush
More detail, checking the drawing and adding dark to the eyes, lips and collar bone. Step 7 – Refining shadows
I now step back from the painting and squint my eyes, I flick my eyes between the reference photo and the painting and adjust any hard edges and drawing.
The next 3 steps

Step 1. Blocking in the background
It seems counter intuitive to repaint a white background on a white canvas that I have painted grey.
However, leaving your canvas white when you’re first beginning painting is mistake No.2, mistake No.1 is not starting!
The added white can add texture, movement and a ‘painterly’ quality to your still life’s – very simply and very easily.
Step 2. Establishing a red local colour

The local colour of a subject is just the colour of an object in it’s simplest terms. If you could only choose one colour to paint the whole object that is usually your local colour, not too dark and not too light just like Goldilocks likes her porridge… just right
Step 3. Using glazes to achieve a transparent base

The Alizarin crimson has a translucent quality which makes it perfect for glazing techniques. A glaze is simply a thin layer of paint that alters and enhances the colours underneath. In this example it helps to unify the shadow tone with the main colour of the cherry and give it a good base to work the next layer, the more vibrant highlights on top of.