Step 1...

To start an oil  portrait I always begin with an accurate pencil drawing applied directly to the canvas, panel or paper that will support the finished artwork

In this case I am using a stretched linen canvas that's 12"x10"

  Step 2...

After completing the pencil drawing I then create an underpainting by roughly blocking in the shadow areas using a neutral colour.

Here I am using Vandyke Brown diluted with white spirit applied in transparent washes. I avoid using any linseed oil at this stage as it prolongs the drying time.

  Step 3...

I then continue with diluted washes to block in the basic colour scheme keeping the colours deliberately muted as they will be painted over later.

The white spirit evaporates quite quickly so it should be dry enough to work over in a few hours. Sometimes for speed, I use quick drying acrylics paints diluted with water to get to this underpainting stage as they can be worked over almost immediately.

  Step 4...

When the basic underpainting is dry I then add contrasts and begin to refine the hues and intensity of colour still using paint diluted only with white spirit.

People have often asked which part of a portrait I work on first.

I prefer to work on the whole canvas. I find it much easier to judge contrasts and colour balance this way rather than working on the eyes first then trying to paint the hair with the same intensity.

  Step 5...

At this stage I start to thin the oll paints with a medium consisting of equal parts of white spirit and linseed oil. I apply them in semi opaque glazes, gradually blending the tones but still allowing the underpainting to show through.

I use as limited a pallete as possible and avoid mixing colours, preferring to use the underpainting to alter the hue and tone of paint straight from the tube.

So far I have used...

Vandyke Brown

Ultramarine

Alizarin Crimson

Titanium White.

  Step 6...

Continuing with semi opaque glazes I begin to refine shadows/lights and start thinking about adding texture and detail. Still working on the whole canvas to keep a tonal balance.

Things become very slow going at this point as each layer need to "dry" before overpainting it.

  Step 7...

I then add more semi opaque glazes and continue to refine detail.

Many of the original highlights have been lost but will be put back in the next stage.

  Step 8...

I've put the highlights back in and feel I may have overdone it slightly in places.

I'll tone it all down and alter the colour balance with transparent glazes when it is dry......

  Step 9...

I've warmed up the flesh tones with glazes of burnt sienna and added some yellow ochre to the background to create a bit more depth.

  Step 10...

The finished painting.  I've softened the highlights in the hair, blended the flesh tones a little more and I think it's about done.

I could mess around forever with the odd tweak here and there but it is a painting after all and not a photograph.

I'm about 75% pleased with the final result which is quite good for me. Normally if I achieve 50% of what I set out to do I'm reasonably satisfied. 

This is by no means the only oil painting technighe I use but one I prefer for realistic portraiture.