A life study is one of the experiences that every oil painter wanted to have.  Unfortunately, models for such painting sessions are not easy to find.  And the professional models are hired by elite art groups who can afford them.  To join this particular activity of a group, you will have to sign up for expensive special classes.

However, the human spirit is not easily daunted.  You may convince your local art club to hold a life study class, perhaps once a month.  If you belong to no art club at all, you and your friends, who are also oil painters, to pool your funds together and pay a model’s time, perhaps once a week.  Of course, if you can afford to pay a model yourself, then do it.  Such advantage will give you privacy.  If you are considering asking your wife or girlfriend to pose, think twice.  Modeling is hard work and your wife or girlfriend is not a professional.

At any rate, when you have managed to set up a life study session, here are some reminders that may help you.  Lighting is vital and it should clearly bring out the form of the model.  In many instances, you cannot do much to change the source of light, but you can choose the position of the model.

Then, think about your palette.  How much paint do you really need and how many different hues?  Most masters would advise that the lesser number of pigments, the better.  The usual hues used are umbers, siennas, red, and white.  Of course, if your model is nude, you will need more colors to bring out the flesh tones.  This is where you will have to study the complexion and hair of the model in order to decide what hues to have. 

For example, softer complexions will require titanium white, raw sienna, viridian, and cobalt blue.  For red hair, you will need titanium white, yellow ochre, burnt sienna, permanent rose, and cobalt blue.

When all is set, you may begin by sketching an outline, which is often the first step in most painting endeavors.  With life studies, however, the second ideal step is painting a dark background (preferably with dilute umber or sienna), followed by filling in the interior of the model’s figure (preferably with thin ochre).

When done with the steps above, start painting the shadows.  Then, paint in the highlights and blend them slightly with the shadows.  In the next session, you will need to repaint the shadows and touch up the highlights with shades of burnt umber, ochre, and red.  Don’t forget to blend the tones before leaving your work to dry.  Once the oils are dry, repaint with more detail and place glazes where they are needed.