More than fifteen years ago, I sent this portrait as an entry for the Royal Institute of Oil Painters´ annual exhibition in London. I delivered the canvas myself at the Mall Galleries. Continue reading “Strange stories”
Strange stories
Being a portrait painter
I am a portrait painter you know by now. The last twenty-five years I have dedicated almost exclusively to this specialization. I have really enjoyed my job and thank goodness, I’ve always had plenty of commissions. And I´ll continue of course, as well as keep creating video tutorials about portrait painting and everything that comes with that.
Portrait painting lessons (10) after treatment
Protection of an oil painting.
When the portrait is dry to the touch, it is advisable to apply a coat of retouch varnish. For two reasons.
- To protect the painting.
- To enhance its fresh appearance.
Continue reading “Portrait painting lessons (10) after treatment”
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
You may have noticed I have no affinity with photorealism.
It is not about whether it just seems real, the point is that it is true and authentic.
Cool-warm contrast in portrait painting
Cool warm contrast portrait painting.
In portrait painting you have to deal with a number of contrasts. One is the cool-warm contrast. And I know from experience that people often struggle with this topic. The light-dark contrast is no problem to many students.
A basic principle is the often applicable rule:
- light parts are cool,
- shadows are warm,
- deep shadows are hot. Continue reading “Cool-warm contrast in portrait painting”
Portrait painting, an interview some time ago
This time a sad message
The portrait below is of Kees Thijssen. Last week he died. He was my agent for more than 25 years when I was working as an illustrator.
I was about 25 years old when I went to Amsterdam with my portfolio to find an agent. There were three major illustration agencies at the time in Holland: Art Connection, Top Drawers and Art Box. For some reason I could only visit Art Box. There I met Kees. He looked intently through my portfolio. He was excited: the next day I received a first commission! And the week after two, months later a dozen and, over the years, hundreds and hundreds. We became close friends.
Portrait painting from live model
Portrait painting in oil: A quick approach in colour from a live model.
Work from observation, the power of perception
Portrait painting from observation
You know I’m far from being an opponent of working from photography. I have received my share of criticism for this stance. That is fine by me. I know whereof I speak, take it from me. Many of my colleagues use photography. And lots for 100% of their work. Only: they do not want to talk about it! I know this phenomenon from the inside out, and I remain to tell you the truth.
But without prejudice I encourage everyone to study from observation. One of the special features is the reflection of a quest. All the elements of a face are not always immediately in the right place on the canvas. And I like to see these little changes of detail in the work. It gives the final artwork that unique charm.
When I work from a live model, I should actually take many more pictures in between to show that process well. The accompanying picture shows two shots. One after a session of 20 minutes and the other after an hour. Pay special attention to the small changes around the mouth and the eyes.
Of course it is an added problem when a model cannot sit still for more than five minutes, at least I can´t. ( I am always happy to be the painter and not the sitter) Every model tends to drift or have difficulties to hold one position. That is why I always take some pictures with my cellphone before stopping the session. So afterwards I am able to correct some features when the model had gone.
