When I began this, instead of darkening the shadows, I made the color deeper, more rich flesh color, in the shadows and more transparent, less strong,in the brights. As I sculpt with yellow ochre and white, this makes the shadows look deeper and darker. Then, after buffing, I mixed a flesh tone with a cool color like a gray/blue and then gel so it is transparent. I paint this over all the shadow areas, buff again and then sculpt with the yellowed white. I tried this because I have never liked the x-ray effect of the darker shadows when photographed. This is looking much more like my actual painting when I see the phots on my iPad. I am thinking the skin needs more yellow. But , I will think about it before I proceed.
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The hardest part
I hate to say it but this is difficult. This is because you have to know it inside yourself and have confidence that the marks you make with white, yellow or even darks are truly going to sculpt the image and make it look alive! Then, you must do it again, but you have the pattern in front of you. If worse comes to worse, you can wipe it all off and start over tomorrow. I tell my students, ‘if it doesn’t look right, it is just not finished!’ This looks better, hopefully, on the next pass, it will be finished. Well, I still have the hair and the shirt. It will be interesting because the light in the shadows is a glowing cerulean blue. That will be a challenge. This is the part that I need to show my students.
Enjoy your painting. Shalom, Diana
Now the brightest brights
It is so important to mark these brights and get them as close to accurate as possible to save time later. I tell my students that portrait painting is the art of correcting, correcting correcting! Then I MAKE EVERY EFFORT TO GET IT RIGHT THE FIRST TIME. Here you can see how I began with the transfer and then if your paint is still wet (many artists want this transfer to dry, I don’t) this is when you take a soft brush and also one with a good edge and then, using the same neutral paint as in the underpainting surface and the transfer, I now go over the entire portrait to soften all the shadows and refine any edges that need correction. Buff gently between each layer. To do this, I use a soft but firm fan brush to gently buff the surface to eliminate the brush marks. This is necessary to achieve the supple looking skin that characterizes my work. I am going to proceed to a new post to show you what I did today.
Be sure you see all these, in order if possible
When I was reviewing my posts, the one entitled ’a layer of skin’ did not show up as I scrolled. But, the info listed says it is there. i hope it is in your view because it is a very important step in this process
A layer of skin
We have thus far created a three dimensional look by using the light and structure. We have achieved our likeness and are satisfied with the results. Even so, the painting so far is monochromatic and basic. The image is accurate but not realistic. in teaching myself how to paint a portrait, I came to understand that flesh and bones also need to be covered with skin. My painted figures did not take that step toward realism until I had gained this knowledge. In the first image i have randomly applied a mixture of titanium white, flake white and an equal amount of Grumbacher Gel. Then i use a soft old brush to work it into the weave of the canvas until the paint is evenly applied. if i am able to load the next photo, it will show how i have used a soft fan brush to smooth out the paint layer, removing all but a trace and then buffing with the brush until the surface has a sheen on it. This is the buffing process we will use between every layer when painting the flesh parts of the portraits. these two images are in reverse order but at least they are both here.
Tiny Portraits
Today I refined a couple of these that need corrections or little adjustments. Then I worked on the images that have dried after having the drawings transferred. Those drawings had also had shading and features emphasized with the neutral dark, then dried. Now I used a mixture of flake white and, where necessary, some titanium white to mark out the brights on the flesh. This will show through the transparent flesh when I do that and I will modify it with more white to even it out and correct the features. Next will be a repeat of these until the skin is smooth and natural looking. I put in background colors, hair and clothing as seems convenient. These tiny paintings have a big impact. They are three and one half inches high but have the beauty of any good painting. If you try this, you will need some tiny good brushes and you will need a support that will not break down over time. Also, consider the frames before beginning because you don’t want to face these challenges after completing the painting.
In case you are wondering, the tentative diagnosis for my abdominal pain seems to be proving to be another wild goose chase. Needless to say, I am weary of this process. Be safe and well. Diana
Modify, correct
The photos almost see through the paint to the under layer. It does not look this transparent in person. I will do another layer and modify the flesh. Also I want to darken the hair a little, especially the lower areas not in light.
one thing I am particular about in my portraits is the depth and suppleness of the flesh. I remember when I painted Plimoth Wife, the old ladies skin tones took a lot of work. It will be the same here and the camera emphasizes it. I know that the layering helps but it is also a matter of coming up with the right paint mixture. Everything in the light looks good. I just cannot allow the shadows to seem so rough. Often, when looking at museum portraits, I see this unfinished shadow area. To the untrained eye, it may all work, but I expect it to be better. I hope I can achieve what I am looking for. And we know the saying, ‘I’ll know it when I see it.’ Diana
This is the stage
where it looks wrong. I always hit this mark. Everything is a block in, only half done. There are so many things to do and I want to do them all NOW! It is when we feel this way that we must slow down. Take the time to do it right. So many artists get in a hurry and that is how they mess it up. Patience!
Refining the light
today I refined the area of light. This will take place on a daily basis but sometimes it will be subtle and hardly noticeable. It really helps to define the likeness as well. It is not an easy task to help the viewer see what I see. Those big eyes will be somewhat subdued by shadows and other features that cannot go in till later. I am going to try a first layer of a medium olive green background to enhance her bright blond hair. If I have time, I will post again later. Diana
Continuing work on Caiti and her Maizie pup
Then, I must complete the hair, the shirt and also emphasize the deep darks in the recesses of folds and other depths to enhance the three dimensional look. Today, I want to work on the dog.
Leah II
Here is the painting that is hanging at the Pasquerilla Center at IUP in Johnstown. The Best Of Show was a beautiful water color by Larry Mallory and this portrait of Leah got the award for excellence in oils.
Upcoming shows, awards, classes
Here is the image that has won second place at the Allied Artists’ of Johnstown show at the Pasquerilla Center on the campus of UPJ in Johnstown. I was thrilled to find out that this painting got the Jurors attention. There are a lot of wonderful artists at this show. (The reception is September 1st. and the show hangs from Aug. 23 until November.) This painting is a simple image of a really beautiful girl whom I know. Her name is Leah and she graciously posed for me so that I can paint her. She has classic beauty and the lighting here makes this a winner. I have learned that painting a simple head and shoulders can be quite rewarding and make a lovely portrait. As I said, the artist must get a good composition and the lighting makes an impression
Today I finished a class at the local art center in Johnstown, called the BottleWorks. Each student did remarkably well. All the students seem excited and are eager to have the opportunity to study with me again. I have found that teaching is almost as much a blessing as painting is.
Portrait class
This is the second post for today so after you read this you will want to be sure to look at the one just under this. On Sunday afternoon the first of six portrait painting sessions was held here at my house in the four season room at the back of the house. There were five students. A few weeks ago we joined together for a get acquainted meeting so that I could explain exactly what to expect from this class. I wanted them to know that this process is tedious but fun and that it is different from how most portrait artists work. Also I wanted them to understand that a six week class will not allow them to produce a fully complete and perfect painting. But it should manage to explain the process. These ladies all have a driving ambition to produce portraits of loved ones, friends and just any figure they choose. Most impressionist teachers have not provided the kind of realism they have been looking for. Everything came together for these particular six women and I am really looking forward to working with them.
Something new
Well, well, my first attempt at a pastel portrait. I could not find paper in my piles of bits and pieces but finally I found some Strathmore black that I thought might work. I should say I did this as an assignment for our group, not because I’ve all of a sudden given up oils. I was not convinced I would be able to come up with any work that might be acceptable but I wanted to try. Now that I’ve done this I went out and purchased some other materials, paper and other tools, so that I can make another attempt. You can see here that I had difficulty blending the colors and making a smooth appearance to the skin. That, I believe is because there was not much ‘tooth’ to the paper. I was able to purchase some nice paper colors in a tablet so I will see how the next attempt turns out. My encouragement to you as artists is, never be afraid to try something new and stretch your limits. Shalom, Diana
Diana Williams Portraits 