Last week we came across a shepherd with his flock during our daily walk around our village, Chelva. I took some pictures with my iPhone. Continue reading “Pricing paintings.”
Pricing paintings.
Test strips in portrait painting.
Did you ever thought of using test strips in portrait painting? Portrait painting is often difficult enough, so why not make it easier where possible? If you work from photographs, it´s a good idea to use test strips. It is a perfect tool to mix the right colour and value. (In the pictures you clearly see I don´t mean test strips in het
I would emphasize this maxim for beginners: Control first freedom later. Continue reading “Test strips in portrait painting.”
Sweet lies in portrait painting.
I must confess I sometimes used sweet lies in portrait painting. Most people have no experience of posing for a portrait. In a commissioned portrait, it is important that the model shows off his best side. He or she should give me something that I can give back in the painting. Usually I am able to get a satisfactory photograph of the person. (As you know, for commissioned portraits I use photographic sources.) Continue reading “Sweet lies in portrait painting.”
Value contrast in portrait painting
Flipped value contrast in portrait painting
An entire book can be written about value contrast in portrait painting. I have also read a lot about it myself. But an image explains more than so many words. That is what at least I always think.
So here are my simple examples. A few times I apply this proven method of flipped value contrast in portrait painting. I do this to obtain a dynamic value contrast in a painting. It is based on a very simple rotation principle. Continue reading “Value contrast in portrait painting”
Portrait painting and inspiration.
Sometimes I wonder why I want to paint a good portrait. Where does that fervour come from? What about my portrait painting and inspiration. I’ve never been able to answer that question. And it should stay like that, I guess. That everlasting urge, that gruelling passion; I have learned to live with it. It was not always an easy road. More than once, I was jealous of people without any ambition. Continue reading “Portrait painting and inspiration.”
Improvising and portrait painting
Last week I told you about the female nude commissions. And, I wrote that only during the photo session does it become clear how the model will be depicted. This post is again about Improvising and portrait painting. Continue reading “Improvising and portrait painting”
Peculiar portrait commissions.
After twenty-five years of commissioned portraits there are many anecdotes I can tell. I have had some peculiar portrait commissions.
I have met a lot of people. Occasionally there was something special about a job, like the two times I got an enquiry for a female nude painting. In the first one, the client was the model´s husband; the client making the other request was the model herself. She wanted to give the portrait as a present to her husband on the day of the wedding. Continue reading “Peculiar portrait commissions.”
Deep shadows are hot
This week, a brief advice:
Deep shadows are hot! Never use black or blue in the darkest parts of the mouth and sometimes in the nostrils. Your shadows will die and refuse to match with the surrounding areas. Continue reading “Deep shadows are hot”
Portrait painting myths.
As a child I joined a guided tour in a small provincial museum. A staff member praised the mingle-mangle of the collection. He was really proud of his museum, especially the portrait gallery. Continue reading “Portrait painting myths.”
Portrait painting: keep distance.
Last week I wrote about the importance of squinting and of stepping back. I also said that most students know this already, but few really do it. Yet it is essential that you keep distance from your canvas, especially in portrait painting. Continue reading “Portrait painting: keep distance.”