PATTERNS – Jude Wainwright

Reference Image

Materials

Acrylic or oil paints
pre-stretched canvas or painting surface
Reference image with pattern details
Rags or paper towels for blending and adjustments
Variety of brushes
Palette knife for mixing

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Laying the Foundation

Choose a reference image that includes lots of patterns for you to play with e.g. a striped shirt or floral curtains in the background. Draw a very simple line sketch of your composition either free hand or traced. To begin painting, use a combination of burnt sienna, raw sienna, and burnt umber, to map out the darker shadow areas to create structure. This first layer will act as a base for later patterns. If the shadows feel too strong, soften them with a rag to create a more natural look.

Next, add the base tones for any patterns that will later be layered with translucent details. If painting lace or a semi-transparent fabric, apply these foundational colours first to help achieve the illusion of depth.

Establishing Patterns and Movement

Start mapping out any key areas where patterns appear in the reference image. The pattern doesn’t need to be precise at this stage—just a guide to help layer future details.

If painting geometric designs, such as a Harlequin pattern, observe how they wrap around the form. The diamonds might widen or distort where the fabric stretches, and this distortion can be used to suggest the shape of the body beneath.

Building Skin Tones and Facial Contours

Patterns don’t always have to be literal. They can also appear in the brushstrokes and the way colour is applied to the skin, creating movement and rhythm that make the painting more dynamic.

Pre-mix a variety of skin tones to allow for quick movement across the canvas. A base of white with a touch of crimson works well, with adjustments made by adding yellow ochre or blue depending on the warmth or coolness needed.

Apply colour in bold, confident strokes, letting the paint naturally create shapes that follow the contours of the face. It might a look a bit weird at first but trust the process.

Top Tip: Hands are another brilliant place for exaggerating patterns in skin as the shapes are interesting as well

Defining Key Details

At this stage, the painting may feel loose and expressive. To bring clarity, use a fine brush and a darker tone to define areas like the eyes and facial outlines. The eyes serve as an anchor point for the composition, providing structure while allowing the rest of the painting to remain more abstract.

Focus on the cheeks for a little while. You might assume they’re just a blank field but the different textures and the way the light falls on different shadows can be more like a ripple of oil in water. Observing these patterns can guide where to place colour and contrast, helping to create depth and form.

Top Tip: See how long you can extend one single brush stroke around the face to create a wavey pattern across the skin.

Focus on the hair for a while as the contours of the blocks of hair can be great for creating pattern. Adding a few flicks here and there to suggest individual strands will provide some interest.

Dealing with Delicate Patterns in Fabric

If painting lace, start by mapping out key reference points, such as larger circular motifs, which act as anchor points for the rest of the pattern. Once these are established, smaller details can be carefully layered in. Lace may appear complex, but focusing on simplified repeating elements makes it easier to break down. Once the pattern itself is in go back and add in the lines where the material folds or bunches up.

Top Tip: For these delicate effects, make sure to use a clean brush and a pure mix of paint.

Finishing Touches and Highlights

As the final step add any final touches to the eyes including the pure white dot of reflection