Painting Portrait Tips / Lots of information about how to paint a portrait
It’s been a long time since I made a commissioned portrait in watercolour. The technique is so different from oils that I need to change my mind substantially. I love this technique but I do it too little. So, today one of my good intentions: at least one portrait per month in watercolour. When the client gives me permission I will show you the end result.
I used watercolour: Rembrandt / Talens. Paper: Arches / France
Today part 2 of the interview that Erica Robb made a month ago. Once again I want to explain that I have no qualms in admitting that working from photography has become an integral part of our profession. Many colleagues are secretive about this and I think that’s baloney. But… I also would encourage everyone to work from live model. That is fundamental. It creates the craft, where skills originate. And it is great fun to do!
These days I am reading the book “Man with a Blue Scarf” by Martin Gayford. It is on sitting for a portrait by Lucian Freud. Good books can take possession of your mind for days. It’s like when you spend some time in a boat and you are accustomed to the constant wobbling. Once on shore you find yourself still waddling. You must readjust. Yesterday and today I have been painting the portrait of the man in the picture above and the spirit of Lucian Freud is present at the sessions. His quotes are constantly itching in my mind.
Such as: “The longer you look at an object, the more abstract it becomes, and, ironically, the more real”.
Or: ” I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be.
And “I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them”.
Time and again, I have to clear my mind because these lingering thoughts intervene. I must concentrate on my job, the sitter and me.
This time only some spoken words from a short interview by Erica Robb.
Three weeks ago I showed you the progress of the self-portrait. I said that in the end I was not entirely convinced by the result. Many people left a comment and a few had suggestions for adjustments. I also was asked to show the final result. Here is the outcome as it will be shipped to London next week. I actually have not done much but for me it changed substantially. The rub was in the background. My aim is always to match the subject and background in order to let them take part in one and the same atmosphere, in a believable way. In the first version there was too much blue and that was the reason there was no “palpable air” provided. What did I do in the background? With a broad brush I applied a layer of Raw sienna, extremely diluted with W & N Oil Liquin. In order to distribute it evenly I rubbed it with a cloth. Now temperature has changed and it looks better.
I also “calmed down” some brushstrokes on the left of my face, and I added a few accents in the lights and the darks.
A quick approach wet-in-wet.
Since the beginning of this year, we meet every Tuesday afternoon in my studio to work with live models. We, that is to say, a few fellow artists and me. We start at 17:00 and usually work for two hours. In between sittings we have a short tea break. Our models are people from the neighborhood. The goal is not to create beautiful portraits but to be engaged as an athlete trains and a pianist does his exercises. See also here. And here.
Recently, when I was in London, I bought the small book “How to be an artist” by Michael Atavar. A book that develops your creativity and helps you, stage by stage, grow your own creative potential. It’s witty, written with optimistic statements such as: Failure is the best thing that can happen to you. I know that you learn more from your losses than from your victories. I always tell that to my students.
One of the first phrases is a very important one: The only way to start is to start. I hear people say, “Actually, I would also like to paint.” Avatar: If you only stay in the abstract it never happens. It’s that simple. Pick up your brushes and go to work! The fear of beginning is bigger than the actuality of doing.
Do not think I know it all. Like others, I have doubts sometimes. This week I’m working on a self-portrait for an exhibition in the gallery in London. I showed two images of the progress on Facebook and have never had so many likes.
A painting that is half finished is something magical. It has the excitement of the promise and the attractive dynamics of abstraction. Once finished, sometimes it does not quite accord to my high expectations. From experience I know this phenomenon, however, it takes me by surprise. So as now with this painting, it is completed but not finished. How do I proceed? The big question for this week. See also the finished version here.
Suppose you want to learn to play the piano. The instrument on which you start is old, not in tune and with missing keys. Would that invite you to sit down and study? No! It will turn your stomach! The same goes for learning to paint. Poor art supplies will not encourage you to make a good painting. Believe me, good stuff really makes a difference! Starting with the canvas. A miserable support base is a principal stumbling block, I can´t stress it enough.
Good stuff makes you happy!
I was in London this week for a portrait commission. There and back in two days. I hope to show you later some of this very interesting assignment. I visited the client in his office in the Millbank Tower.
Of course I did not miss the opportunity to enter the Tate, as it is next door after all. I went directly to the Singer Sargents. I admit it: I’m quite the monomaniac sometimes. I took some pictures and I include them here with some comments. I am safely back home now and return to work with new enthusiasm, kindled by our eternal hero John Singer Sargent.
