On Saturday I attended my first of six art classes at the Auckland Art Gallery in painting the figure using oils. It’s been over twenty years since I last tried oils, and had all but forgotten what to do, so was keen to gain some new skills. The above image is the one the class was to attempt to paint from; presented to us in photocopied form, the colours even more subdued than the original image shows. We were also handed a slightly smaller version with a grid pattern superimposed. I looked at the grid, knowing it was often used for beginners learning to draw proportions. I hadn’t used one ever for sketching the nude. However, I was keen to do what everyone had been instructed to do, and set about marking up a piece of paper with the same grid proportions.
After sketching the image roughly with pencil, or charcoal, we then had to rub charcoal over the reverse and transpose the sketch onto a piece of A3 oil paper.
Following this we had to block out the canvas with thinned paint, aiming for a tonal suggestion which would underpin the thicker layers to come.
I fluffed about, mixing my colours and adding some warmth to the dark browns. I used burnt umber mixed with cadmium yellow and deep cadmium yellow, plus a touch of magenta.
We were a small group, but no one was given instruction and so we continued to use whatever brush and stroke to cover the canvas. I do hope that once the underpainting dries that I can then attempt to redeem the artist in me and finish the work to a reasonable standard.
One brave chap spoke up asking what brush and strokes he should use on this task. Again, a a ‘whatever’ answer was given and so we all did ‘whatever’.
The aim is for us to work on this starter painting for two more weeks, when a live model will be introduced. I am looking forward to having a model to work from, as I feel more at home working from life. I plan to work on a larger canvas and hope that I’ve have gained more insight into paint application by the time I start this one. I am a beginner in this medium, and as I know only too well, more practice is what’s needed. I shall try not to out-guess the outcome and have some fun while learning.
ARTISTRY 
Interesting commentary, Vivienne. Your course sounds fun. I’ve never used oils or a grid system before, only a Picture Plane/Viewfinder. Looks like you’ve got a nice, spacious and light studio to work in.
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This class is a moving feast and we go without the grid next class. We are fortunate to have this lovely light studio to work in, and being in our main Art Gallery, it does feel rather special.
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You’ll have all sorts of insights and revelations along the way.
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I hope to gain something from the classes. Improvement might be a good start.
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Thanks Vivienne, this is really interesting. I will be reading over the coming weeks with intense focus, so I can see all the mistakes I have been making!
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I’m not sure that you will come to realise your mistakes through what I’m presenting here as you have set the bar rather high! I can but try.
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Enjoy yourself. Your sketch is so expressive. Keep working, keep learning and keep exploring. How was your second class? Look forward to the update.
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Thanks Yvonne, I could see the expressiveness in the underpainting and hope I can keep that as I finish off the detail in the body. I did enjoy the second class more, and shall post about it tomorrow.
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I remember showing a student how to use a digital grid on a portrait after he came to me totally frustrated after trying to freehand the portrait. He was surprised at the outcome and how much easier it was to get the right proportions. I use grids on larger paintings but have recently been gifted a projector to enlarge paintings. So now I have another possibility for larger portraits. Enjoy your new class.
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Thanks for your comment Louise. A grid can be a helpful tool to achieve correct proportions, although over the years I prefer to work without one. Next class we should be doing just that.
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