Painting Portrait Tips / Lots of information about how to paint a portrait
Much can be said about white in oil painting. By far it is the paint that is most sold. I am also a bulk consumer.Together with Yellow Ocher, it is the paint that I use the most.
Since I have been browsing every now and then the beautiful book The Art Spirit by Robert Henri, I come across the most beautiful passages that I must remember. I keep my ear to the ground reading these pages. Continue reading “About white in oil painting”
Today, May 18, I launch my newest video tutorial. How to paint a portrait in watercolour. Continue reading “How to paint a portrait in watercolour”
Making a small doodle. These days my wife and I stay for a short time in Madrid. We are happy to celebrate the birth of our second grand daughter. Visiting them I made a very small doodle in pencil of the happy couple. Continue reading “A small doodle”
Our Art trip to China. Perhaps you have noticed it but I have been away for a while. We were on a cultural/historical/art journey to China. For me it was the first encounter with this fascinating country. Continue reading “Art trip to China”
Never skimp on the good stuff. Cheap materials make cheap artwork! I’ll give you a few some thoughts on preparing the palette.
Put enough paint on your palette without retrenchment. Especially the colours you will use often, such as white, yellow ocher, cadmium red and burnt sienna. I often see students adding medium hoping to obtain more amount of paint. Always use the same order. The sequence you determine yourself, for example the darks left, white in the middle, and the lights on the right, or from dark to light with white left. Or the yellows and reds at the right and the blues and greens at the left side. It does not really matter as long as you always keep a fixed order. You must find your way blindly. (keep your kitchen organized!) Continue reading “Thoughts on preparing the palette”
In portrait painting it is all about putting the right colour on the right place.
As simple as that. And I’ve spent my entire artistic career with the question “What is the right colour and where is the right place?”
Major problems should be divided into smaller ones. Also in portrait painting. Like the composition, the drawing, the colour contrast, the ciaroscuro, the likeness. All these topics should be solved individually. So I was convinced of the importance of coming up with a reliable approach to portrait painting. Each artist has his own method, either self invented or handed by teachers. As a painter I am selfmade. Over the years I gathered information from wherever I could. I found my way of working, allthough I keep changing now and then. Here I like to share my experiences. Continue reading “Portrait painting lessons (5) flesh colours”
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?”
Once in a while, I am asked why I don´t teach how to paint a portrait in watercolour.
Let me first start with a quote by Charles Reid in if famous book “Portrait painting in watercolor”
“For me, watercolor is a spontaneous and suggestive medium, and I find using it an exiting adventure. I´ve heard several “myths“ about painting with watercolor, and I disagree with them all. For example, I´ve heard it said that you can´t make any corrections or changes with this medium.”
To speak with Richard Schmid in his fantastic book “Alla Prima ll” and I repeat his words when it comes to commissioned portraits from photography.
Photos are often the only way we can have access to certain subjects.
Imagine: All my customers live throughout Europe. It is impossible to travel with my all painting stuff around my neck to the sitters home. Staying there for a couple of days and do the job there. Apart from the fact that clients certainly do not have the time to pose for several days. And then I’m not even talking about additional problems with portraying small children.
So there is no argument against portrait painting from photography. I say it once again loudly and clearly. And for the umpteenth time, of course, it is essential to study from observation. That is the basis of your artistic skills. But one does not exclude the other. Certainly not if it is about a commissioned portrait. The invention of photography is thus a blessing for us, portrait painters. I know this world from within and know what I’m talking about. Almost all of my colleagues use photographic reference, but many talk mysteriously about it.
A lifetime drawing. That applies in any case to me. And portraits have always been the utmost challenge. Continue reading “A lifetime drawing”