Portrait painting and likeness?

Portrait painting and likeness, a challenge and a source of trouble.

A good portrait must fulfill the two basic requirements: perfect likeness and good artistic characteristics. It seems that sometimes the two are at odds. I know I was more prudent in my approach with commissioned portraits than non-commissioned artwork. The more I progressed during the years the more I was able to grasp at these things. But still sometimes it is difficult. Continue reading “Portrait painting and likeness?”

Only a good likeness is not everything

Only a good likeness is not everything

As you know by now, painting commissioned portraits is an essential part of my daily artistic activity and has been for more than twenty-five years. I like to talk about it over and over again and hope that you can benefit from this.

Let me repeat this week what I consider to be the most important properties for a portrait painter.

Only a good likeness is not everything

  • Good drawing skills and a thorough mastery of painting technique, above all.
  • Good sense of composition.
  • Good sense of colour.
  • Good communication skills.

Continue reading “Only a good likeness is not everything”

Traps in portrait painting based on photography

Traps in portrait painting based on photography

I’m often criticized because I explain how to paint a portrait from photography. Working from life is the only true religion, I always hear. I never answer because I know how things are in my profession. I say it again loud and clear: almost all my colleagues use photography when it comes to a commission. Only, they would rather keep silence in public. Anyway, I do not want to talk about that.

What’s one of the hazards of working from photography?

 

Traps in portrait painting based on photography
Portrait O Samuel, from life.

The exposure. The lefthand picture shows a portrait that I painted from life in my studio during our Tuesday sessions. I always take a picture of the model before we stop. That shot you see on the right. A major handicap in photography can be seen at a glance. The light-dark contrast is too big. In particular, the light parts suffer from the loss of the subtle nuances. I notice in my classes that many people overlook that phenomenon. So make sure that the print that you’re working from is not too light and that there is difference between the light and the high-lights.

Finally: of course work from life. Study as much as possible with a live model in front of you. The more training in direct perception the more your work from photography improves.

More posts on working from photography:

Work from photography.

Contact with the model.

More about photography.

 

More posts on painting from life model:

My favorite model.

Demonstration.

Power of perception.

 

Detailed or blurry

Detailed or blurry

Detailed or blurry
Portrait painting from photography has pros and cons. One of the major drawbacks is the inclination to copy all the details. Detailed or blurry?Apparently every wrinkle, eyelash and hair lock must be displayed faithfully. But a good portrait is not a sum of all observable details. I have said it last week: It’s not about whether it just seems real, the point is that it is true and authentic.

In his book Alla Prima ll Richard Schmid says:” In my view, detail for its own sake is a shallow goal, because I don´t think art is about how much stuff I can depict” Continue reading “Detailed or blurry”

Skin colours in portrait painting

Still from the video tutorial
Still from the video tutorial

Every so often I get the question of what colours skin tone is composed. I can not possibly answer that question because every complexion has its own composition.

Portrait of a little girlIn the two in-depth video tutorials I show exactly which colour and in what quantity in the different parts of the face, I used to paint the portrait.

 

 

See: Tutorials

A failed portrait?

a failed portrait

A failed portrait

Rarely an artist wants to talk about it and certainly not show it : A failed job. You would rather share a glorious victory, than admit your loss. Even though you’re a successful painter, every so often it happens that you might get stuck. With non-commissioned work it does not necessarily have to lead to a problem, but when it comes to a commission it surely does. The client expects a top performance from you. I assume that you yourself are many times more critical than the client. (If not, you need to seriously doubt your artistic attitude).

I speak from experience: failing is more common than you might think. I wrote recently about this and I come back to it because it is an important fact. Why? I am convinced that you learn more from your failures than from your successes. What do you do in such a case?

ST. kl

Don´t keep muddling on and painting like a headless chicken, hoping that the problem will correct itself with a fluke. Lay down your brushes and stop.

Don´t panic;  analyze the failure.

 

  • Was I in good mental shape?
  • Were my materials in good condition: paint, canvas, brushes?
  • Was I suitably equipped for the job?
  • Did I started on time?
  • Was my palette set up well?
  • Was I using the right colours?
  • Etc
  • Etc
  • Etc
  • Etc

My statement for this week: You always feel as good or bad as your last painting.

Portrait drawing in charcoal

Changing my habit: portrait drawing in charcoal.

As I mentioned earlier we get together every week to work from life. We ask people in the neighborhood to model. There will come a day when we shall have “done” half the village. This time I decided to work in charcoal and not in oils. I haven´t done this for ages and once again I’m surprised how much I enjoy this. (1,5 hour session)

charcoal drawing
Drawing a portrait from live model in charcoal. (Click to enlarge)

I used Winsor & Newton Artist’s charcoal, thin and medium, Fabriano drawing paper 120g / m2 – 24 x 32 cm, Faber-Castell Art Eraser (kneaded rubber eraser) and some  brushes for blending.