First Steps on This Whole Portrait Adventure
So, this idea hit me after watching a bunch of videos about those super old paintings in museums. You know, the ones with the fancy clothes and serious faces? Figured it couldn’t be that hard, right? Grabbed a bunch of stuff from my garage sale stash and the local craft store. Got an old wooden panel, some sandpaper that felt way too rough, white glue like kids use, and some cheap store-bought paints. Oh, and rabbit skin glue? Yeah, actually found some online that smelled kinda funky. Ready to be the next… well, not Rembrandt, but maybe make something decent.
The Battle With the Board and That Stinky Glue
Okay, step one was getting the wooden panel ready. Sanded that thing for what felt like hours. Dust everywhere! Arms were already complaining. Then came the gesso. Mixed that rabbit skin glue powder with warm water. Man, the smell! Like wet dog hair, seriously awful. Brushed this watery mix over the panel. It dried kinda bumpy and rough. Had to sand it smooth again. Did that back and forth – glue layer, sand it down, glue layer again, sand some more – probably six times! Felt like my arm was gonna fall off. Finally got a surface that felt okay to touch.
Drawing and Painting – Not As Easy As YouTube Makes It Look
Time to sketch. Went old-school like they did. Took a piece of charcoal, tried making a nice outline of my subject (a grumpy-looking mug shot of my cousin, don’t tell him!). It kept smudging everywhere! Made a mess. Finally thought I had it.
Moved on to painting. This is where things got messy:
- Underground Painting: First layer was just raw umber paint thinned down. Slapped that on to get the shadows and lights. Looked like a muddy ghost image. Had to let it dry completely overnight. Tough to wait.
- Color Slop: Next day, started mixing my cheap paints with linseed oil. Getting the colors right? Impossible! Skin tones looked either pink like a doll or kinda gray and dead. Tried building the colors super thin, almost like tinted water.
- Slow Going: Kept adding layer after layer after layer. Each one super thin. Wanted that deep, glowy look. Days went by, just painting sheer washes. Felt like watching paint dry… literally.
- Details Disaster: Last layers for details. Small brushes, trying to make eyes look alive or lips look natural. Hands started cramping. Glazing on top to warm up cheeks? Ended up making him look slightly drunk. Oops.
Finishing Touches and Facing the Music
Finally decided enough layers. Signed it like I was a real Master (with initials, felt cooler). Varnished it later with some retouch varnish to try and make it shine like the pros. The finished thing? Well… it’s recognizable as my cousin! But definitely looks like someone trying the old ways, not actually from the old ways.
What Actually Stuck With Me After All That
This whole project? Way harder and took way longer than I thought. Learned a ton by just trying:
- Prep is brutal, but it really matters. That smooth panel base? Worth the sore arm.
- Paint layers need patience. So many thin coats! It feels slow, but builds up depth.
- Mixing colors perfectly takes practice I clearly don’t have yet.
- Glazing smoothly is super tricky. One wrong move and things look weird.
- Respecting the craft? Off the charts. Those Renaissance folks were next-level patient and skilled. Makes you appreciate the real deal hanging in museums even more.
Got a wonky but kinda charming portrait out of it. More importantly, got a massive respect boost for the actual Masters. Would I do another one? Maybe… after my arms recover!
