Shopping Cart -

Your cart is currently empty.
Upgrade to today
for only an extra Cxx.xx

You get:

plus This issue of xxxxxxxxxxx.
plus Instant access to the latest issue of 350+ of our top selling titles.
plus Unlimited access to 30000+ back issues
plus No contract or commitment. If you decide that PocketmagsPlus is not for you, you can cancel your monthly subscription online at any time. Auto-renews at €10.99 per month, unless cancelled.
Upgrade for €1.09
Then just €10.99 / month. Cancel anytime.
Learn more
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the European Union version of the site.
Would you like to switch to your local site?
Read anywhere Read anywhere
Ways to pay Pocketmags Payment Types
Trusted site
At Pocketmags you get
Secure Billing
Great Offers
Web & App Reader
Gifting Options
Loyalty Points

The limited palette portrait

Ann Witheridge continues her series on portraits, progressing to painting in oils. She advises on a suitable palette, brushes and support, with a demonstration by Archie Wardlaw


At London Fine Art studios we believe it is best to start with a limited palette when you move on to painting portraits in oils. It is essential to understand just how much these colours can do before relying on hundreds of colours to get to the same end. It is also simpler to remember how to mix colours if your options have been limited.

The finding of shape and form, of values and edges is what creates the image, but the handling of the paint and the manipulation of the colour is your calligraphy and what will most clearly define your style. I would say the shapes, form and values are the structure and scaffolding of the painting, the foundation. The brushwork and colour are the plasterwork and cornicing.

Brushes and support

Don’t scrimp on the quality of your brushes as they are the most important part of your painting kit. The quality, shape and the hairs used define your calligraphy and style. Look after your brushes well – I remove all the paint with an odourless turpentine substitute and then wash them in olive oil soap. To start with, use a filbert as you can lay down the paint well and the edges naturally soften with each other. I use Rosemary & Co brushes.

Purchase options below
Find the complete article and many more in this issue of The Artist - July 2018
If you own the issue, Login to read the full article now.
Single Digital Issue
July 2018
This issue and other back issues are not included in a new The Artist subscription. Subscriptions include the latest regular issue and new issues released during your subscription.
Annual Digital Subscription
Only € 3.15 per issue
Monthly Digital Subscription
Only € 4.14 per issue

View Issues

About The Artist

Let this month's issue of The Artist inspire and guide your next steps in drawing and painting a range of figurative subject matter in all media. From realistic still lifes in acrylics, watercolour landscape challenges suggested by Amanda Hyatt, David Parfitt and Paul Talbot-Greaves, through to portraits in oils and mixed media, our fantastic team of practising artist-contributors aim to help you develop your knowledge and skills based on their own experiences as professional artists and tutors. Check out the list of contents for more details of all the great articles in this issue, and look out for our latest sketching competition to enter on page 66, plus win £500 worth of gift vouchers to spend on art materials with Great Art in our PaintersOnline competition on page 6. See also pages 12 to 13 for the latest news on the Patchings Art, Craft & Design Festival (July 12-15). We will be celebrating the opening of our annual The Artist open exhibition there on July 12. We look forward to meeting our successful selected artists and visitors to the festival.