There are a number of steps that go into planning a complex oil painting. Below I describe the process I went through to arrive at my latest painting, Splitting the Herd, oil on linen, 36x48 inches.
Preliminary Work
This is the reference photo that started it all. Michael Badhand, an expert on Plains Indians and a Native American himself shows his expert horsemanship.
My rough sketch of the above photo. Notice I change the face somewhat since Badhand has been painted a number of times by numerous artists.
This is an 11x14-inch painting I did over a year ago which sold at a show. Take note of how I will change the color scheme for the larger painting.
When planning a complex oil painting, or any type of painting, it's always good to see if your idea will work by doing a small study. These studies do not have to be detailed or precise; their purpose is to help you visualize and plan the large shapes in the composition, the primary color scheme, and the value relationships. Detail is not a consideration at this point. See my rough preliminary study below.
I worked out the color scheme, composition and primary value relationships in this small color study.
Before starting the final painting, I did a small 10x10 inch oil painting of the Warrior on horseback. While this is still somewhat rough, I bring it to a state of completion for display.
Starting the Large Painting
It's now time to start the large painting. A large sheet of Claessens #15 oil-primed linen is stretched onto heavy duty stretcher bars.
A very easy and cost-effective way to enlarge a drawing for a painting is to scan your sketch into Adobe Photoshop, enlarge it to the size of the final painting, upload it onto Staples Print and Marketing Services and have it printed as a blueprint, (and no, the outlines will not be blue unless you draw them that color). Depending on your location, you can get a 36x48 inch outline printed for less than $10 if you choose the store pick-up option.
Attach the print onto your canvas by taping down just one side, then slide some carbon transfer paper underneath or apply charcoal on the backside of the print, the side that will be in contact with the canvas. You don't need to cover the entire back with charcoal, just where the lines are. Now with the print on the canvas, trace the outline of the print onto the canvas.
Enlarged sketch transferred onto the canvas/linen.
The block-in is started with a very limited palette. This helps me to focus on correct shapes, values, and composition. Once this foundation is laid, I have something solid to build upon.
I'm making adjustments to the face, not following the lines exactly. It is important to keep things loose at this stage so these adjustments can be made. Don't be a slave to the outlines.
Making more changes to the face and adding some hair with the limited palette.
Some background color is added using Titanium White, Yellow Ochre, Cadmium Lemon and a touch of Van Dyke Brown. In some spots the edges of the figure are blended slightly with the background, other edges are kept sharp.
I use the background color to make some adjustments to the Warrior's arm by painting back into the arm.
The background color is lightly painted over the hair to soften those edges.
Using a #1 round bristle brush I start to indicate the hands and fingers still using a limited palette.
With the Warrior and the horse's head roughly blocked in, I cover more of the background to kill the white canvas.
The horse is blocked in. Everything is kept loose which gives me the freedom to make adjustments later on.
The basic shape of a distant hunter is blocked in. This will be replaced later.
Still using a limited palette, I start blocking in the main bison. My primary focus is on showing the form, mainly through value transitions.
As I transition to the head, I use more Van Dyke Brown and Titanium White into the mixture to slightly cool it, but for the darks, I leave the white paint completely out.
The bison is blocked in with color applied to the background around the head.
Foreground grasses are indicated with loose, bold brushstrokes. I paint over the distant hunter as he seems too large and distracting.
The block-in is pretty much complete and serves as a nice value map for adding subsequent colors, values, details and, texture.
One last thing I do before I call it a day is to open up the background dust to reveal distant hills and some sky. Looking back (no pun intended), this was one of the most important things I did with this painting. Taking your time and doing lots of preliminaries can help get you deeper into your composition and spawn new ideas.
Using a small imitation badger hair flat brush I make adjustments to the Warrior's head.
With a #3 flat bristle brush, more paint is added to the war shirt. At this point, I'm only thinning the paint very slightly with odorless mineral spirits.
Finishing colors are applied to the Warrior's leg.
The horse's head is refined and stronger greens are applied to the saddle blanket.
The distant bison is refined. His form is only implied so as to retain a sense of atmosphere, depth, and dust.
Color adjustments and texture are added to the bison. More paint will be applied before it's finished.
I add a bison coming out of the dust on the right side of the painting.
More bison added on the right. Most detail is left out and the form is built with bold brushstrokes to imply distance and motion.
A hunter in the background is subtly implied with just shape and highlight.
Finished strokes are added to the foreground sage. The paint is getting fairly thick at this point.
The background dust, hills, and sky are refined with thicker strokes of paint.
The last part to be completed is the bull's cast shadow. The sunlight is partially blocked by dust so I don't want this shadow to be too strong.
The completed painting, 36x48 inches, oil on Belgian linen.
I hope you found this post on planning a complex oil painting helpful. Click here to see a small oil painting demo. Please leave your comments or questions below and don't forget to subscribe. Also, visit my website at www.JasonTako.com and see video demonstrations on my YouTube channel.
Disclosure: Some of the links in this post are affiliate links in which I will earn a commission, but there is no increased cost to the buyer. I link companies and their products because I use them and believe in them, regardless of whether I get a commission or not.
Jason Tako is a nationally known fine artist who specializes in western, wildlife, plein air, and Historical Native American subject matter. He spent his learning years sketching the wetlands and wooded areas of rural Minnesota. He has been featured in Plein Air Magazine and Western Art Collector Magazine and he was the Featured Artist for the 2020 Southeastern Wildlife Expo. See his work at www.JasonTako.com and his demonstrations on his YouTube Channel.
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