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”
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.
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.
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
Time has come again: I have packed my suitcases and tomorrow I am off to Burgundy to start my workshops portrait painting. But as always, before I can leave, there are still dozens of things to be done at the very last moment. This morning, the soil of the kitchen garden had to be plowed so my wife can plant leeks and some corn. That was not possible earlier this month because of the new plants must be placed at waning moon. And that’s now.
Last minute job: plowing the soil
In this village, where everyone has a vegetable garden, people live by the rhythm of the lunar cycles and not just for seeding and harvesting; reeds for beanstalks also must be cut according to the lunar calendar. All for an optimum and sustainable yield. Whether it really matters I don´t know. Once I wondered if a portrait painted by waning moon would look better than one done at crescent moon. During my workshops I certainly will not talk about these things. Students might suspect things ain’t cooking in my kitchen and think thatthey have landed in the wrong workshop.
Once back from France I will continue with my series about the likeness.
Portrait of a lady. Detail.Portrait of a lady. Seen without my glasses.
Every portrait painter knows this: A portrait is finished, it looks nice but the resemblance is not quite right (or not at all) Conclusion: there is something wrong. But where is the rub? Perhaps it would be the eyes or the mouth, maybe the nose? You are peering & correcting, but an acceptable similarity is not coming into sight. Even worse: all your efforts are jumping out of the frying pan, into the fire. What do you do? Probably despair first. But as you can learn how to get started, you can also learn how to finish a portrait. I will pay attention to this issue here and in future blog posts. There is a number of ways to assess the likeness of a nearly finished portrait.
Here are some tricks you can think of:
1 Take off your glasses.
2 Use a mirror.
3 Check the portrait at twilight.
4 Use transparent paper.
5 Use the computer.
1 Take off your glasses
The portrait is not quite right, however you are absolutely sure all points of reference are in the correct position. Remember that it could also be that the curves are not in the right spot. In particular, the roundness of the cheeks. Up to what point are they exposed to the light, where does the shadow start? I often take off my glasses to see everything a little blurry. I perceive no details, only large shapes. And it works! It’s an amazing trick to find inaccuracies related to curves. “Yes, but I don´t wear glasses” you’ll say. OK. Borrow a pair of your granny´s specs, and put them on! Same effect.
I like to see half finished paintings, even of my own work. It says something about the work process. Was it the Dutch writer Cees Nooteboom who once said “Traveling is better than arriving”? I just found this image of a half painted portrait. Here you see: I am traveling. It is not finished; not yet at my place of destination. Often I enjoy more of the process itself then the finished product.
Atlas, click to enlarge
Also this picture reminds me of something else. I see the small statue in the background. It represents the Greek mythologic figure of Atlas who held up the celestial sphere. I added this prop at the special request of the sitter, the retiring Professor of Philosophy at Vrije Universiteit of Amsterdam. For lack of good reference material I made a sculpture in plastiline myself and painted it with acrylics to imitate the bronze patina. I really like to prepare things blow by blow. Not a lick and a promise.
