We have a new tutorial on our YouTube page!

In this tutorial, we explain the general steps we take when we paint a cast. We give you some tips that we hope will be useful.

The explanation is in English with subtitles in Spanish

Your opinion is very important for us so do not forget to leave your comment about our tutorials. Thanks!

Here is the complete transcript:


  1. Drawing with charcoal

We will start by the first layer of drawing with charcoal.

The objective is to get a simple and constructive drawing that will define spaces.

To do so, we will look for the big shape using side size, starting by defining the upper and lower point of the cast as well as a point that we shall define as our truth for example the line of the bridge of the nose.

It is important to find a centre line and to start constructing around a point that we define as our truth or point of reference. In this cast we will decide to start the drawing from the forehead downward. It is important to have an order in the construction because if we work on completely separate spaces, these may not end up matching.

In this first section, we must invest time in finding construction lines and spaces but not in making a finished drawing since the drawing will be completed with painting in a later stage.


  1. Fixing the drawing with turpentine

We will then fix the charcoal with some turpentine. This way we will minimize the risk of losing the drawing and the charcoal will not mix with the painting.

  1. Drawing with raw umber

This part consists in drawing with oil Paint. The colour that we use is raw umber (in this case from the Brand “holland”)

If we were painting at “la prima” we would use oil medium by putting a thin layer of oil on the canvas and then mixing raw umber with it as well. This way, our lines would be flexible because it would be wet into wet.

Although in this case (accentuate), there will be several layers of Paint and the way we use mediums in layers of painting is from dry to wet (more oil). Therefore, in the first layer we will mix the raw umber with turpentine that we can apply directly on the brush.

As for the brushes, we will use one for drawing with raw amber and turpentine and one for erasing with turpentine only. Both brushed need to be a medium to slim size. For example, rose mary brush …

We want the value of our brush strokes to be light but we do not want to use too much turpentine because this could make our lines too transparent as well as produce Sharp edges and in this case we want to be able to create soft lines. Half tones are used to see rhythms and to produce shapes. It is important to also double-check all the spaces at the same time as drawing.

  1. Mixing colours

We will use a pallet of three colours.

Ivory Black (that can be used as blue), Raw umber and initially titan White. We use titan White for the lower layers but it is possible that when the White dries, the value becomes darker therefore on the upper layer we can use zinc White, flake White, or even, the better option, lead White which are more stable.

Black and White are the cold colours and we will use raw umber which is warmer than our black and our White to avoid having an extremely cold painting. We could also have chosen to use another warm colour such as transparent oxide red but in this case we will use raw umber.

In the mixing we organize our pallet from the darkest to the lightest value.

The first mix we look for and that we will use as a comparison to all the other mixes is our darkest dark.

Here, our darkest dark is a warm black, which means it has some black mixed with raw umber. This is the only mix that will not have White in this pallet.

Then, we prepare the background which will be colder than the darkest dark and will have the same value as the shadow shapes. (pausa) Although, we may want our shadow shapes to be slightly warmer than the background to make an aesthetic effect.

Then, we will look for half tones, a general light and a high light.

Half tone: We want to find two possible half tones, one lighter and one slightly darker (and colder?) that we can use for transition areas. In both cases, we want to keep a contrast with the shadow.

Light area: for the general light we want to use light with a pinch of black and another of raw umber and for the highlight we will simply use pure White.

  1. Underpainting Painting:

The first layer will be painted with turpentine or gamson. Gamson is a less toxic version of the medium. This will make the painting slightly lighter and usually causes sinking in when it dries. Which means that we will have to give other layers of paint to provide more texture to the painting.

While painting, we will keep analysing the spaces in order not to lose the structure.

We systematically start by the darkest dark. Even though it is important to have notes of the value from the beginning, when painting the first layer, we we leave some transparency in order to have flexibility when adding our next layers.

In general, we can make our shadows a bit bigger so that when we putt he next value it can cover it slightly and be better integrated to help softening the edges.

We want to Paint directly with the right value and colour therefore we need to constantly compare the relationship of each of our mix with the darkest dark, which will be our reference.

For the shadow of the face we use the same mix as the background although we can add a bit of raw umber to make it warmer. After placing the shadows, we will put a note of whitest white to get an idea of the range of value that is available to us in our lights and mid-tones. Shortly after, we will place a transition between the shadows and the lights. The part of transition that is closer to the light will be lighter.

Then, in this case starting with at bottom we will start putting colour into the mid-tones and the light area.

The idea is to have organized values that have a coherent relationship to each other, while being connected with edges that help to describe the form.

This is why we need to make sure we differentiate our shadows, frim our mid-tones and light area. This way our painting will look well structured, clean and organized.

MUSIC: Ambiment – The Ambient de Kevin MacLeod está sujeta a una licencia de Creative Commons Attribution (https://creativecommons.org/licenses/…)

Fuente: http://incompetech.com/music/royalty-…

Artista: http://incompetech.com/