Portrait - creating mood & atmosphere

In preparation for this exercise I made reference to works by other artists i.e. Monet, Modigliani and Picasso.

I particularly liked Picasso's "Girl in a Chemise" and Modigliani's "Portrait of a young woman seated". Using my wife as my model I produced some pastel studies in my sketchbook inspired by these reference pieces. I wanted to create an image that expressed happiness/cheekiness without being completely true to life. I wanted to use a pose similar to Modigliani's but employing a dark background as used by Picasso.

I liked the joy, warmth and happiness expressed in the image of my wife wearing a wig (figure on the left). However, I was attracted to the cheekier image on the bottom right created by elongating my wife's shape and stylising key features.

I played with this idea creating a rough collaged image. Before proceeding further, I decided to research Modigliani's work and in the process came across a study of Vogue covers (Packer,William: The Art of Vogue Covers, 1909 - 1940) which included examples by Helen Dryde, Lepape and Benito produced in the 1920's where features had been elongated. I produced some reference sketches of both the Vogue images and works by Modigliani from 1917-1919.

Working with a photo reference, I experimented with the elongation of my wife's features based on the Modigliani pose above (except in my version the left hand is on the right breast).

Having enjoyed producing the collage, I decided to work in a mixed media format for this exercise using mount board as a support. Prior to setting out the image on the mount board, I referred back to some earlier tonal studies using side light from a north facing window.

I then marked out the approximate position of the image on the mount board support using a chalk pencil indicating where the highlighting would be. Tissue paper was then applied with PVA glue and allowed to dry before applying a base layer of white household emulsion paint mixed with acrylic paint.

I used a green acrylic paint for areas that would be exposed skin. I applied a purple background and then started to work up the hues of the portrait. I realised that although purple had looked fine in my earlier pastel sketch, now that I was using slightly different hues in acrylic colour the skin tones were not contrasting sufficiently with the background. I referred back to Ostwald "The colour primer",Van Nostrand Reinhold, 1969 recommended by my tutor in order to re-assess colour contrasts and chose to replace the purple with a blue green. I also adjusted the expression of the face, slimmed and emphasised the muscles in the neck and thinned the hand and fingers.

I am pleased with the expression and overall effect of the final piece which has achieved what I had set out to create. The colour of the lips are less pronounced than I had intended but they seem to work in an under-stated way. I have tried various skin tones as I have worked up this portrait and in future intend to experiment with colour mixes prior to starting the final painting. I prepared some pencil studies of hands but working in paint is more complex and needs some more practise to achieve something more life like. I enjoyed creating the textured surfaces with tissue paper and creating highlights/grey tints to the hair by running a painting knife over the textured surface.

Head and shoulders portrait

I started with my wife acting as my model, preparing a number of study sketches before setting up a pose for the portrait.

I then tried out a colour and composition study again in my sketchbook. This study was completed in one sitting but I took a photo for reference purposes enabling me to reposition my model after breaks. This first colour study produced an image that appeared to age my wife but we are still talking! I had prepared the support with an ochre wash onto which I built layers of acrylic using brush marks. The finished image was flat, the lower face proportions were too narrow and the whole image felt lifeless.

For the next piece I worked on an acrylic paper support that I had prepared with a mix of white emulsion paint and green acyclic paint. I outlined the portrait with washes before adding layers of colour with brushes. Then to create more life I started to work with painting knives building up thicker and rougher marks.

To get maximum light and give my model a comfortable pose, I set up this portrait in my conservatory. I worked for about 2 hours with breaks before I reached the stage in the right image above. I was not satisfied with the shape or proportions of the eyes or mouth and was struggling with colour matching as the light changed as the sun moved round and the paint dried to a darker hue than when wet. I took some photos for referencing and left the portrait for a few days before returning to it. 

When I went back to this portrait I worked in my studio using the reference photos. Working with filbert brushes, I lightened the skin tones and built up the detail to the background and clothes. I also improved the proportion of the lips and shape of the eyes and nose. I took breaks to allow the paint to dry and reach its final hue and periodically I checked the painting against my actual model as the photo's do not reproduce the skin tones very well. I still seem to have aged my wife in the portrait but am more satisfied with this image than the earlier study.

I am not satisfied with the accuracy of the eyes and matt finish of the raw acrylic paint and may experiment with applying a glaze of acrylic gloss medium over the whole picture. I prefer the additional texture provided by using a painting knife but this has produced a less realistic finish to the skin areas which are soft and smooth in life. It has helped, however, to distinguish between the focus of the picture and the surrounding details. I find the darkening of the acrylic hues on drying frustrating as I struggle to achieve the colour matching I am looking for. I am learning to take breaks to allow the drying to take place before proceeding with new layers.

To experiment with capturing a more natural smile, I worked up a soft pastel sketch of my daughter from a photograph. The photo was adequate for capturing the pose but had limitations in assessing skin hues.

Due to the time it takes me to complete a painted portrait and to create portraits that are  satisfying, I have discovered the advantages of mixing time with the model and studio work from reference photos. I have found that working with live models is far more challenging than still life both in terms of considering the model's comfort and capturing the colour variations on skin hues and tones. 

Self Portraits

I started sketching myself before selecting examples produced by other artists or comparing my approach to that taught by accomplished tutors. As a result my initial sketches are not porportionally accurate with some features exaggerated.

I discovered that I was capturing a staring pose, long faced with relaxed mouth. Being a mirror image I was also producing an image not seen by others with my bent nose pointing in the oposite direction to reality. The sketches helped to define tone and where to darken the background to enhance contrast. The proportion and shape of my face were not factually correct in the early images which I improved in the following sketch with glasses.

Prior to working in colour I made reference to other artisits' work I seen at prior gallery visits and from internet searches. I selected a range of examples of other artists' work I found interesting (i.e. Vincent van Gogh, Pablo Picasso, Lowry, Fiona Scott, Henri Matisse and David Hockney).

The portraits with simple backgrounds help to focus the eye on the person. In the Van Gough example the features of the room in the background add context as does the paint brush in the foreground of the David Hockney watercolour. The two ages of Hockney show both his developing style and confidence with mark making. Lowry and David Hockney have illustrated the wide eyed stare that painting from a mirror image creates.

When creating my own painted self portrait study, I worked from the eyes and mouth outwards thus improving the proportions of the final image. I worked with painting knives on the face to give texture when I put down middle layers before finishing with a filburt brush. My wife thought I had created a sad looking image that made me look 10 years older! I discovered how difficult it is to paint a smiling image as holding the smile for long periods is uncomfortable and leads to a false smile. The result is a more serious pose. I am pleased with the proportions and shape in the colour study portrait below but have over emphasised the redness of my skin colour.

Working on a contrasting green mid-tone support, I prepared a second painted image using brush maks only. Again I have produced an image with elongated features and an over rudy complecture. I feel I have caputured my eyes, forehead, hair and mouth well. However my nose is too long and my lower face too narrow. I believe the image is closer to how my father looks than me - perhaps a preminition of how I am going to age! By photograghing my sketchbook page in a mirror I have reversed the image on the right to appear as others see me.

I am impressed by the way the red tones stand out from the mid-green of the prepared support. I intend to play around with my own portrait focusing on key features similar to Matisse's approach.