Self image: basic materials and techniques (3)

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Oil ... tell me more	the smell of the grease paint
Materials: Oil paints in tubes or tins Canvas, board, paper, card or wood Range of brushes Linseed oil, Turps or other painting medium in 'dipper' or receptacle Palette Palette knife for mixing paint Jars for mixing paint Drawing board or easel Masking tape (if attaching paper to board) Rags and white spirit for cleaning brushes Pencil for underdrawing Varnish (optional)
Oil paints are made of dry pigment blended with an oil-based binder such as linseed oil. They come in ready mixed tubes, jars or tins or it is possible to make your own paints by mixing together the raw pigment and oil ingredients, available from most art shops. Most brands have two ranges, Student colours, and the more expensive Artists range which are of a superior quality.
This painting has a haunting fragility despite the coarse texture of the paint. This is achieved through the concentrated focus on the sitter's eyes and downturned mouth which have been exaggerated slightly for impact. Her head is supported by a slender neck which is elongated, pushing it beyond the top of the painting. The dark enlarged eyes seem to gaze past the viewer into the middle distance hinting at an air of sadness or wistfulness. The choice of colours, although realistic, is controlled and sombre and the cold blue background enforces the overall feeling of isolation.	Frances Borden by Frances Borden © the artist / BP 2000
James Hague by James Hague © the artist / BP 1996	This intense painting is a good example of glazing technique as the oil paint has been considerably diluted with a medium and laid in almost transparent coats of flat colour. Even though the painting is made of a number of combined layers, the paint is so thin that the weave of the canvas is still clearly visible. Great care has been taken to soften any visible brushmarks so as not to interfere with the smooth surface of the painting. The features have been stylized and presented in a series of angular shapes and lines rather than soft curves. The combination of smooth finish and semi-cubist style make this modern portrait reminiscent of Deco paintings of the 1930s.
These examples show the variety of effects achievable with oil paint.
Leon Kossoff by Leon Kossoff 1981 NPG 5772	Arthur Hayward by Arthur Hayward 1933 NPG 5825
Sir Nathaniel Bacon by Sir Nathaniel Bacon circa 1625 NPG 2142	Lucian Freud by Lucian Freud 1963 NPG 5205
Allen Jones by Allen Jones 1959-1960 NPG 5911	Patrick Heron by Patrick Heron 1951 NPG 6540
Pen and Ink	http://...Pen and Ink
Alfred Aaron Wolmark by Alfred Aaron Wolmark 1926 NPG 4884	Ithell Colquhoun by (Margaret) Ithell Colquhoun 1930s? NPG 6485
Sir Alfred James Munnings by Sir Alfred James Munnings circa 1950 NPG 4136	Phil May by Philip William ('Phil') May 1894 NPG 3038
Prints
Traditionally printing is a collaborative process: often a master printer will assist an artist with plate making and pulling prints.
Etching
Bernard Howell Leach by Bernard Howell Leach 1914 NPG 6017	Wenceslaus Hollar by Wenceslaus Hollar 1647 NPG D3268
Leon Underwood by Leon Underwood 1921 NPG 6472	David Hockney ('The Student - Homage to Picasso') by David Hockney 1973 NPG 5280
Mezzotint
Sir Anthony Van Dyck by and published by Jan van der Bruggen, after Sir Anthony Van Dyck 1682 NPG D4552	Philip Mercier by John Faber Jr, after Philip Mercier 1735 NPG D5677
Wood Engraving	Silk Screen/Collotype
Gertrude Hermes by Gertrude Hermes 1949 NPG 6002	Richard Hamilton by Richard Hamilton 1970 NPG 5278
See also: Mirror Mirror
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Self image: basic materials and techniques (3)

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