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”
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.”
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.”
From life model
If you have the intention to start working from life model try to find some friends to join you and agree a fixed day and hour in the week. It is good to have some obligation.
Official-portraits
‘What subject do you prefer?’ A frequent question. Actually I don´t know what to answer. Do I prefer official-portraits? Each portrait is fun to do whether it is a small child or an old lady, a professor or a lawyer. It is true that some faces are more attractive than others. A commissioned portrait never leaves me a choice and it is always exciting to see what model will appear. The same goes for official portraits. Continue reading “Official-portraits”
Portrait commissions from the old days
Looking back on some of my portrait commissions from the old days, I sometimes do with trepidation and mixed feelings. More than once it just happens that I´am no longer completely satisfied. These works I will not show you of course, haha! But occasionally I see something and I think: Not that bad.
Portrait painting from life, underpainting
In this short portrait portrait painting from life, underpainting, demonstration video I only use raw umber.
If you have the opportunity to paint from observation you should do so as much as possible.
To begin with, I give the entire canvas a very thin wash of raw umber with standard painting medium.
Then, using a flat synthetic brush I put down the first contours. I determine where the eyes, nose and mouth are.
Continue reading “Portrait painting from life, underpainting”
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”
Thoughts on portrait painting
Portrait painting from live model
Portrait painting in oil: A quick approach in colour from a live model.