Mike Skidmore's Oils Portraits Demonstration (18/2/2002)

We've since enjoyed an excellent whole-day workshop (14/6/2003) which gave half a dozen of us the chance to practice Mike's techniques under the master's watchful eye - it's amazing how much of a demonstration one forgets. Sam Dauncey used heat-set oils, with mixed success (see Mike Skidmore's Workshop and Sam's part of the gallery - old men pictures), and got help from Correspondence about Heat-set Oils with the manufacturers.

With write-up by Laurie Clarke

Mike Skidmore drove from Lechlade to give a demonstration to FCSA members on the evening of the 20th October 2002. One of the first bits of information he gave us was that Lechlade is the highest navigable part of the Thames.

Mike is a portrait painter who wasn't allowed to paint portraits at Art College. He stuck it out. Left. And returned to burn all his paintings in front of the College. A gesture he says that was fairly futile as he was the only person there. He then got a job packing books with all female colleagues, where he learnt much about life, and had a great time.

However, after avoiding the "Art world" for some time, he found himself in The National Gallery gazing at a Rembrandt. Moving around the portrait, as he said, to try and discover how masterpieces are made, he got into conversation with the only other person in the gallery. By the time Mike left, he knew he had to return to portrait painting, and hasn't stopped since. This first mentor who explained so much to Mike is one of the reasons he gives demonstrations. Trading Secrets is important.

• Mike started with a prepared flat painting of a Grecian (maybe Roman) urn on Medium Fibreboard. This was in acrylic paint. He prefers to use canvas in his studio but for demonstration purposes finds MDF more manageable. He made the following basic points:
• Dark areas should be painted very thinly
• Light areas need thicker paint application
• He uses Paynes grey and burnt umber for under painting, and realises that his choices can cause controversy. He showed us very effectively that using oil glaze and white highlights creates a 3D effect.

His medium is made up of:

1. 2/3 parts Damar varnish (gives a gloss)
2. 4 parts turpentine
3. 2 parts linseed oil
4. 1 part Venetian turpentine. (This is very thick, important for Mike's style, and prevents the mixture from running).

This mix is brushed across the whole painting, and the subject shaped by removing unwanted glaze with a cloth. Then a fan brush using a cross-hatching movement is used to blend any hard edges. Highlights (white) are applied using the same technique, and the finished painting certainly proved the artist's point. The 3D result was very clear.

The Portrait

• How to use photographs. (given that most of us don't have the luxury of a sitter)
• Avoid colour photos. Use black and white. Think tonally
• Have the photo at roughly the same distance as a model
• Use finger and thumb to note the actual height of the head from your easel. (It looks very small)
• Paint an impression
• Note the highlights
• Have an opinion about the person you are painting.
• Everyone has a noticeable specific feature or attribute
• Let model relax into usual pose. This can be induced by boredom!

The base drawing is in pencil sealed with white acrylic. This can be redone several times if necessary.

As with the urn, a glaze is applied and then lightly removed with a soft cloth, "following the contours of the face."

When a tonal portrait is done, colour is added using the following mix:

Flesh mix (again a controversial area for discussion)

• Cadmium red
• Yellow ochre
• White
• Or premixed from art retailer with added Paynes grey and burnt umber

On the palette this mix should look 'dirty'. Check the colour on your hand. If it works it will also work on the canvas.

Using only three brushfuls of paint, Mike demonstrated his methods, using Paynes grey for shadows, and gradually lightening and thickening the paint for highlights and contours. To bring the eyes to life a mixture of Paynes grey ochre and white was used.

Try not to get too intense with detail, and avoid 'fiddling'. (Where have we heard that before!) A tint glaze can make a significant difference to a painting.

If you want to do a self-portrait, ask someone else to choose the best likeness from a photograph. Mike pointed out that Rembrandt used ivory black/medium to glaze the entire portrait, afterwards wiping off what remain to enhance the brush strokes.

While delivering this wealth of practical advice, our demonstrator regaled us with acerbic and amusing anecdotes about his development as an artist. A very instructive and entertaining evening.

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