This is a mostly complete Step by Step of how I do a painting. I usually work in thin layered glazes or semi-opaque layers called "Velatura" built up over a thin under-painting. There are around 8-10 steps in all: The Thumbnails, The Drawing, The Transfer of the Drawing, The Color Test, The Sealing, The Ground, The Under-painting, and The Painting.

While this is how I do it, it is by no means the only way to paint a painting, and its not the way I do it every time; however, its roughly the way I do it most of the time. My method can be very time consuming and technical, inspired by the methods of the Old Masters of the late Renaissance.

A Day at the Lake: http://stickypawz.timduru.org/Art/01Otts.htm

Step 1; Thumbnail sketches and idea phase:
Here I start with the concept. The customer asked at first for 2 sea otters with no specific details. Then, he decided he wanted a more dynamic and less postcard like painting. Then at the last minute he changed his request to River Otters, and the picture to be is not shown in a thumbnail among these as I went straight into the drawing phase as I was hit with inspiration. Thumbnails are rarely pretty and nothing more then quick doodles a few inches in size. They are to inspire and show ideas not to impress.

http://stickypawz.timduru.org/Art/Misc/SBS/03OttWIP1.htm

Step 2; The Proof and Drawing:
Inspired as I was I put the pencil to paper, often a simple HB (No. 2) Pencil on 8" x 10" drawing paper. Which I would normally size up with a grid technique or slap on my old over head projector, or scan into the computer, and reprint out in a large format. No way is wrong, though each present their own problems. It is thought that Vermeer in the late 1600's used something akin to a primitive photo projector via mirrors and lenses to get his startling accuracy. There is another way; just draw the initial drawing at the original size which is what I did here. I drew it on tracing paper first so I would not score or scar the surface to be painted on and so that when I did the transfer it would be easier to make sure the drawing lined up with the transfer (See Step 3). Why do all this? So, I can have greater control of the image and make any major composition and design corrections before I apply the paint. Now I had to get the approval of the customer, and it was approved with much excitement.

http://stickypawz.timduru.org/Art/Misc/SBS/03OttWIP2.htm

Step 3; The Transfer:
At this point, I set up my prepared Masonite board (http://www.dickblick.com/products/ampersand-gessobords/), which I have prepared my self and never use straight from the package as they are to smooth to grip the paint (I lightly sand and re-gesso then add texture with Acrylic Matt Medium and do this for both Acrylic and Oil Paintings). I then make several small "X"s in the corners. I place the drawing on the canvas with architects tape, and trace the "X"s on to the drawing. This will help me align the drawing when I have to move it to check the transfer. Then I make a Transfer Sheet by taking paper the size of the surface and using either a 2B or 4B Graphite Stick (http://www.dickblick.com/products/generals-wide-compressed-graphite-sticks/), or a Art Stix (http://www.dickblick.com/products/prismacolor-art-stix/) and cover the back of the paper. Vola instant graphite paper. Cutting the corners of the transfer paper to see the "X"s I place the graphite paper down and then the drawing on top, taping them down along the top of the board aligning the "X"s. Then I redraw over the lines of the drawing transferring (in this case) the Tuscan Red Art Stix pigment on to the board. Once done I remove the drawing a transfer paper and use a Tuscan Red Col-Erase pencil (http://www.dickblick.com/products/prismacolor-col-erase-pencils/) to tighten up any lines that did not transfer well and to add any last minute details, sometimes (even tho its not needed and will be lost in the following steps) I will take a paper towel or my finger and smudge in shadows (like in this case).

http://stickypawz.timduru.org/Art/Misc/SBS/03OttWIP3.htm

Step 4; Sealing the Under-Drawing:
Using a mix if 4 parts acrylic matt medium, and 1 part Titanium White acrylic paint I seal the under drawing with a thin transparent glaze. This will take the edge off the line strength and the color so it will not show through the final product, but will show through long enough to guide the painting in the following steps, and keep any pigment or graphite from bleeding into and muddying up the paint. This can be mixed with the ground color in step 5 and used as a ground. You can see here how washed out the under-drawing appears. Otherwise, not much to look at.

http://stickypawz.timduru.org/Art/Misc/SBS/03OttWIP4.htm

Step 5; Color Test (Optional):
This step can be done at any time before the paint is laid onto the surface. Basically, its a color rough of the painting to be. It will act as a guide throughout the painting process, and is especially useful when you have few references, or lack a photo. It often lacks detail, and should be done with the cheapest supplies as not to waste the high end materials. This traditionally has been done on heavy papers, cardboard or scrap canvas, in this day and age many artists have turned to Digital. Which is what I did for this color test in.

http://stickypawz.timduru.org/Art/Misc/SBS/03OttWIP5.htm

Step 6; The Ground:
The ground is a thin neutral transparent color applied to take the intensity out of the white, and help with color balance when applying paint. Usually, Yellow Ocher, Raw Umber, with a speck of Sap Green, Alizarian Crimson, and white thinned with acrylic medium (but really any neutral value can be used even a plain old light gray). This is the point at which I decide whether I will be working Acrylics or Oils. Pro Tip: Oils will stick and can be painted over acrylics, but acrylic paint will NOT stick well to oils; so you can work an entire painting in acrylics up to the very end then switch to Oil, but not vise-versa. If I work fast enough or in Oils I will often use a rag to wipe in highlights, and may apply another layer of the ground to darken the shadows, but neither should be very intense lest it dominate the following layers.

http://stickypawz.timduru.org/Art/Misc/SBS/03OttWIP6.htm

Step 7; The Tonal Map or Tonal Under Painting:
This step I often use a single color like Burnt Umber or Raw Umber (as in this previous piece: http://stickypawz.timduru.org/Art/01JDWMtm.htm) but not in this painting. Here, I laid down the initial colors, highlights, and shadows. This stage can be as clean or as messy as you like as long as you can see where you are going. At this point we start losing the under-drawing, but not entirely, as I can make out the faintest lines through the paint. This layer will have the greatest effect on the rest of the painting as the lights and darks will be seen through he following layers of paint, and guide me. In this case I was VERY sloppy, and lose. I often call this the "Ugly Phase".

http://stickypawz.timduru.org/Art/Misc/SBS/03OttWIP7.htm

Step 8; The Painting:
For the step I basically repeat step 7, but with a slightly thicker semi-opague layers of paint, hardening up the lines, and shapes. I usually start with the background and work forward. Repeating this step until it almost looks finished but lacks fine details. Not much to say about this step other then just paint. Trust your self and let go of control and over analysis. This is also the phase where my inner demons of doubt and anxiety hit me hardest. If I can get past this point I am home free. So, don't let doubt and anxiety win just push on. Many paintings in my early days as an artist never were completed because of this phase; I just got to scared and gave up.

Unfortunately, I forgot to document this step... So no picture. Shrug

Step 9; The Over-Painting and Finished Piece:
At this point I add in the final glazes of very thin color to deepen or tone the previous layers. As well as the final details, like the extreme highlights ("Highlights are the mother of realism" as the saying goes), and things like the light ripples, whiskers, the bubbles, etc. Once those are finished I leave the painting for a few hours and go do something else... I come back with "Fresh" eyes and study the work. Just staring at it in even conceivable way. Looking for missed details, correctable flaws, or anything I feel that I may add to bring the painting to life. With nothing found I sign the Painting and let it sit for at least 24 hour before I varnish it (usually with a synthetic conservators spray Gloss, or Semi-Gloss varnish). If it were an oil painting I would let it sit for 1-3 months then varnish it (depending on how much speed drying mediums I applied).

http://stickypawz.timduru.org/Art/01Otts.htm

And that is how I paint, in a nut shell... [Grin]

Enjoy!
Ryngs