I have never been very stocky and my weight has never made me any concern. But now I see the studies that I made in front of the mirror when I was twenty years old, I do see a very skinny body. However, I could see enough muscles to name them.
Occasionally I have a request to include a pet in a portrait. That’s usually a dog. Often the client asks, “Is it hard to make a portrait with a dog?” In itself it is not difficult. The problem is usually in the photo session. You can´t say to a dog “Sit there and look at the camera.” Some dogs are easy but not all. I have a dog myself and I know from experience how they can react. So when I’m going to do a photo shoot for a portrait in which a dog is to be included, I am prepared. I do this: I ignore the creature altogether from the moment I enter the sitters home. If not, he won´t stop trying to convince me that he is the cutest dog in the world. Which does not benefit the session pose.
Funnily enough, with children I often have a similar approach. In the beginning I don´t pay too much attention. Later I try, unobtrusively, to win their trust. At that moment I play the role of an actor, more than a portrait painter.
Soon my new blog will be launched, with a new design, and adapted to the requirements of Google for mobile phones etc. It’s a big project and I am working on it with my friend Bas in France. Apart from this project I also have a list of commissions to be painted and delivered by mid-November. So you see, I’m really busy. Barely time to write you. But what I want to tell you is that we have started again with our weekly portrait painting from life sessions. For two hours each week I work from a live model with a number of fellow artists here in the village. It’s really fun to paint together.
I´m planning to make a short video or a PDF file from it soon, and will keep you informed.
Portrait Painting is my daily work, you know already. I spend much of my life in my studio, behind the easel. It is therefore very important that my workplace be ideal. Not only in terms of lighting, but the spatial layout should be well thought out and the materials must be of good quality. That sounds obvious. Yet I sometimes see workplaces that are far from good. I do not understand that. Even when painting is just your hobby, plan everything that this entails in such a way that it is optimally organised.
Someone once said: “A good portrait starts with what you had for dinner last night”.Think it over
The answer to my question of two weeks ago, where in this watercolour portrait I applied two gouache strokes, is this: the bright reflected light under the chin and the blue accent on the collar of the shirt. Among the good answers I raffeld a DVD.
The DVD goes to:
Marija Gaspar from Zagreb. Congratulations Marija!
I’ve never been very stocky and my weight has never made me any concern.
But now I see the studies that I made in front of the mirror when I was twenty years old, I do see a very skinny body. However, I could see enough muscles to name them.
This is a commissioned portrait in watercolour that I made years ago. During the sitting I noticed the independent and tranquil look of this little boy.
“An artist is not a psychologist,” I quoted in one of my last posts. Yet a portrait painter is happy if he sees a quality in a face he wants to emphasize. So was I and I tried to capture this pensive look. I was sincerely happy when the mother exclaimed: “Yes, this is my son with his eternal gaze!“.
The portrait is in watercolour but there are two brushstrokes in gouache. I wonder if someone can find them? Among those who give the right answer I will raffle a video demonstration. Let’s say up to a fortnight.
Paul C. Burns says: “An artist is a visual recorder of facts, not a psychologist probing the sitter’s self.” I largely agree with him. Paint what you see before you. Still, I find it important to know something of the character of the model. It can help whilst posing. Posing is an interaction between the sitter and I. A model feels more at ease when I am patient and sympathetic. My attitude must be inviting. Only then can we create something good. In the end a model should give me something that I can give back in the portrait.
The model in this image I know well and I know her character. She is energetic and vigorous. I suppose that it has become visible. In my enthusiasm however I overlooked a small detail. I now see that the fingers of her right hand are spread too wide. The model’s energy and vigor has therefore become a little too exaggerated.
There is always a detail that you would like to change when you look back on your own work.
Portrait painting is my daily job. But don´t think that everything always runs smoothly for me. It sometimes happens to me that a portrait fails. In the case of a commission it is a big problem. Of course over the years I have developed a routine wherein I, step by step, can detect a possible problem and fix it. Needless to say, that belongs to my profession. But sometimes it happens that I desperately wonder how to proceed when I find my self in deep trouble.
Once I was in such despair that I decided to destroy the portrait on my easel. Eventually I realized that that was ridiculous. After a while I decided to start over again the next day. I went into the garden to work and have some distraction. Then, when I came back in my studio, I saw the abortive work on the easel. As the painting already was screwed up I decided, I could just haphazardly do some muddling.
And what was the result? In fifteen minutes the portrait was back on track and after an hour it was finished! I was satisfied and later certainly the customer was.
What now is the essence of my story? (Evident of course): If you tend to get stuck do not despair but take distance and relax. The solution may be within reach, but you don´t see it because you’re so wired up.