The nude is probably one of the most difficult subjects to paint in oils. A good reference photograph, an accurate drawing, and careful observation of skin tones are essential. In this article, originally published in Dessin et Peinture magazine, I present the creation of Nina step by step, from transferring the drawing onto the canvas to the final refinements of the figure, background, and hair.
Materials
To create this oil painting on a 92 × 60 cm canvas (French size 30 Marine), I used the following colors:
- titanium white;
- cadmium yellow-orange;
- Helios yellow;
- raw umber;
- light cadmium red;
- yellow ochre.
For brushes, I used:
- a Raphaël no. 14 sable brush;
- several worn, rounded bristle brushes;
- a small no. 2 Kolinsky detail brush;
- a no. 16 flat brush;
- a 6 cm spalter brush.
I also used a 2B pencil, a 7H pencil, a large sheet of tracing paper, a palette knife, white Courtrai drier, turpentine, spray fixative, a disposable palette and, of course, a good reference photograph.
The Drawing
The quality of the reference photograph is essential. I recommend taking your own photographs with a model of your choice. The work then becomes more personal: it is no longer simply an exercise, but the creation of a true work of art.
To transfer the drawing onto the canvas, I used a large sheet of tracing paper and reproduced the photograph using a grid. I carefully went over the outlines with a 2B pencil, then indicated the shadows with a harder pencil, taking care not to smudge the canvas. These initial values served as a guide when I began painting.
I applied two even coats of spray fixative, leaving about an hour between them, then allowed everything to dry overnight. The canvas was then stretched onto its frame. Before beginning to paint, I lightly sanded the surface with very fine sandpaper to remove any small imperfections caused by the fixative.
The Body and Skin Tones
To prepare a range of colors corresponding to the different skin tones, I make several mixtures using titanium white, light cadmium red, Helios yellow, raw umber, and cadmium yellow-orange.
I begin with a very light mixture composed mainly of white, with small amounts of red and yellow. I then gradually add raw umber and cadmium yellow-orange to obtain a range of tones, from the lightest to the darkest. I regularly check each color on the palette knife by comparing it directly with the skin tone in the reference photograph.
With a brush lightly dipped in white Courtrai drier, I quickly apply the different colors in flat areas. I then blend them together using worn, rounded brushes that are completely dry, working from left to right and from bottom to top. This method creates smooth transitions, with no visible boundaries between the different areas.
I finish this first pass by lightly brushing the surface with a dry spalter brush. The brushes used for blending are simply wiped on absorbent paper; they must not contain any solvent, as this would thin the paint instead of blending the colors.
I proceed in the same way with the arm, the back, the other arm, the buttocks and, finally, the hand, whose subtle tones require particular attention. The forms must remain delicate and harmonious: they should be neither exaggerated nor made to appear too soft.
To finish, I carefully remove any paint that has spread beyond the outlines, using a flat brush and a little turpentine. I then lay the canvas flat so that I can work more comfortably and with greater precision.
The Background
For the background, I prepare several shades using titanium white and raw umber. I mix the colors thoroughly with a palette knife to obtain three main values, ranging from the darkest to the lightest.
I first apply these colors in flat areas across the canvas, taking care to work around the hair. I then blend them with a dry spalter brush to create a soft, even transition.
I redefine the contours of the figure with a small brush. I turn the canvas whenever this allows me to work more comfortably, then carefully blend the background color along the edges with a worn, dry, rounded brush. This step is important: the figure must stand out from the background without its contours appearing too harsh.
The Hair
For the hair, I prepare a new range of colors using yellow ochre, titanium white, and raw umber.
As with the body, I begin by quickly indicating the main values in flat areas. I then stretch the colors with dry brushes, following the natural movement of the hair.
II sometimes lay the canvas flat so that I can draw the curves more easily, resting my elbow for support. I go over the strands several times with a fine brush, sometimes using a dark color over a light area and sometimes a light color over a dark area.
Gradually, the mass of hair begins to take shape. Squinting slightly helps me avoid becoming lost in the details too early and allows me to maintain an overall view.
I finish by allowing a few strands of hair to extend over the body. I paint them with a small brush and very fluid paint, creating the finest possible lines without leaving any marks.
Finishing Touches
After adding a few highlights to the hair to give it greater brilliance, the painting could have been considered finished. However, I preferred to wait a day before looking at it again and reworking the figure as a whole.
When retouching a painting that is already under way, it is better to rework the entire area concerned rather than make a few isolated corrections. As the paint dries, the color darkens slightly, and overly localized retouching may leave visible marks or differences in tone.
It is always difficult to know exactly when a painting is finished. I finally decided to stop when the presence of the body seemed more tangible and its forms less pronounced.
By then, I had moved somewhat away from the original photograph, but this too is part of the painter’s work. A photograph serves as a reference; it should not prevent interpretation. Each artist, according to their own sensibility, can find their own way of translating reality.
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