MATERIALS
• Dark Tones: Raw Umber Rembrandt 234.3; Art Spectrum P550, V550, X550; Rembrandt 234.3; Gold Ochre Rembrandt 231.5; Caput Mortum Rembrandt 343.8, Art Spectrum P554, T554; Caput Mortum Red Rembrandt 343.5 Dress: Flinders Blue Violet Art Spectrum D520, N520, P520, V520. Light Tones: Burnt Umber Rembrandt 409.8, 409.9; Caput Mortum Red Rembrandt 343.8.
• Carbothello 1400: 640, 645,706, 750, 760.
• Paper: Colourfix Burgundy.
• Kneadable eraser
STEP ONE
When setting up for the portrait, I choose a space that provides a pleasant ambience with good lighting; music (if preferred); and minimal interruptions or distractions. I meet the subject and get a feel for their character, and I ascertain what the person commissioning the painting is expecting from the portrait.
I ask the subject to bring a few different choices in colour of clothing so I can choose one that suits the mood of the portrait. I select the colour of the paper and also have an idea at this stage of the pastel colours I would use to enhance the skin tones of the model.
I arrange the lighting and positioning to create shadows and highlights that compliment the subject. We decide on a pose that is comfortable, since they will be holding the same position for a few hours (with breaks).
I have all my equipment on a bench next to me, so that trying to find a particular pastel doesn’t break the flow of painting
STEP TWO
Here I explain what I require from the subject. We decide on a point they can focus on; and I ask them to hold their focus as much as possible. I also ask them to memorise their position so they can resume it easily after a break.
At this stage I take some photographs without flash, for future reference. Taking the photographs with a flash gives a whole different set of shadows and the resulting pictures can’t be used to recreate the same expression.
STEP THREE
I do a sketch with a charcoal pencil. Initially, I look at the proportion of three distances (a method taught by Lyn Diefenbach): From the top of the forehead (or bottom of the fringe) to the top of the eyebrow; the top of the eyebrow to the tip of the nose; and from the tip of the nose to the bottom of the chin. Then I look at lots of levels and points relative to each other, to arrive at a preliminary sketch.
STEP FOUR
The main formula which I follow is to go from darks to lights. Initially, on this picture, I played around a bit to establish the colours and tones and started freaking out – thinking ‘this is going to be a big mess’! But I carried on, and it was okay. Emma has a lovely energy and I hoped to capture this in the painting.
STEP FIVE
I painted the colours in Emma’s purple dress early, knowing that these would influence the colours in the rest of the painting. I used Flinders Blue Violet ranging from D540 for the darks. I find that if I can get a good tonal contrast it enhances the drama of the painting.
STEP SIX
Next was the hair. Working on this element started to balance the painting. I did some work on the facial features (with refinements to follow later on).
STEP SEVEN
In the beginning, I had planned to include Emma’s hands in the portrait – but they were taking too much time … so I decided that the bottom of the painting would finish at a point above the level of her hands.
STEP EIGHT
A blend of various tones of Caput Mortum, Gold Ochre, Burnt Umber and Caput Mortum Red brought out some of the beautiful highlights in Emma’s tanned skin. Later I returned to the painting to look at it with fresh eyes. If in doubt, I refer to photographs and make corrections.
When my son said, “She looks like a witch with that green skin,” I toned down some of the greens coming from the Umbers by lightly going over those areas with Caput Mortum Red (Rembrandt 343.5).
I added Emma’s black pearl and diamond necklace (a graduation gift from her parents).
My inclination is to keep on correcting areas of the painting – sometimes to the detriment of the painting.
MASTER HINTS AND TIPS
• As a friend of mine said: “The painting is inspired by the subject. If you prefer an identical likeness, take a photograph!”.
• Set your intention when you begin a painting. Choose to create a beautiful work of art.
• Creative expression is beneficial for your wellbeing and for maintaining a harmonious balance of mind, body and spirit.
• Practicing meditation or something like Tai Chi or Yoga is a great way to enhance creative flow.
• If your painting doesn’t work out, it doesn’t mean anything … it just didn’t work out! Do another one.
• Appreciate life and what’s around us – all the time.
