Picture This!

You're in a studio, painting with a group of artists, with a model positioned on a chair in front of you.  With each stroke, as you try to capture her image, the picture looks less and less like her.

What's an artist to do?

You take a paper towel and wipe it all off and start all over again.

When I left you last, I had completed the first week of "Model #3" and had showed you the first attempt at immortalizing this young lady.

Here's that first draft, again, to the right.

This is what's called a tonal image...in other words, a drawing with some shading of the same color, in dark, medium and light values, to lay out lights and darks and start to give a semblance to the person's likeness.

Week two saw me adding color to the canvas.

Note that I did not say that I was improving the drawing.

Instructor, "Get some color on that thing so that you can deal with details next week.  Don't worry about what she looks like."

She saw my painting...I had kept working on it without a word...did I seem like I was worrying?

I do think I had a bout of color-blindness.  The background was brownish, almost dark camel.  How I managed to get green, I don't know.

Instructor, "Okay, the color's not right, but the value is and that's more important...you haven't ruined it yet."

I heard, "Yet."  Still time to insure a trip to the garbage can!

Here, to the left, color...oh, and hands...remember last time I mentioned those hands.  Hard to draw, even harder to paint.

Instructor:  "What about those hands?  Do you think the drawing is good?"

Me to instructor:  "You see those hands and you're asking me if they're drawn right.  No, they're not.  Can't you see that?"

Now, I'm worried.

The model is wearing a black top, with gold trimmings and has a large green bracelet on her left arm.  Note to self:  save some of that green paint you put in the background, in place of the brown paint, for that bracelet that you forgot to draw in or paint on!

And those eyes!  What was that movie with the beings that hunted down earthlings and burnt them up with xrays that shot out of their sockets? 

Oh, there was a week #3.

Week #3 looks like week #2, because I didn't make it to class.  There was the talk of not going as it was too hot and then we had a car that needed to get into the garage, so we were down to getting to work and back home and back to pick up the repaired vehicle with the one car left.  Didn't make it...don't know if that was a good thing or a bad thing.

I did leave the painting on my easel in the basement, with hopes that the little green folks who inhabit this Irish household might take up a brush and fix the thing overnight.

However, it was something else that perhaps improved it.  With the heat outside and the moisture in the basement, the painting started to turn on itself.

Here it is, on the right, in its current state.

Seems that the change to water soluble paints and cleaning tools with water has added a dimension of drying (or not drying) to my hobby.

Left unattended for two weeks, in the dark, damp basement, it turned into, "Dark, A Study."

I'm wondering if the drawing is still there.

However, before I attempt to clean it off, I am considering offering it for sale.  Could end up being one of those magical things...as it dries, the image may re-surface!  Or partially recover...Moldy Lisa?

A show of hands, please, starting the bidding at $5.00!

The Layered Look

I did think about taking some video during the portrait painting class that I'm taking, but didn't want to intrude on the others in the class.

And, I couldn't figure out how to mix paints, hold a brush or two along with a wipe rag, be able to squeeze out more oils as needed, hold the camera and zoom in and out at appropriate times, and run back and forth to the snack table!

It's a lot of work being an artist.

I did write last week that I would post the painting as we go along, and here to the right is week two of the same model, with another layer of paint.

You don't get to see the painting stroke by stroke, but hopefully you see some progress.

I was surfing the web and came across this portrait painting video and thought you'd like to see what we artists look like in action:

While some painters have insecurities about having people watch them paint, I don't mind.  In fact, I seem to do a bit better if I think someone is watching.  Don't know if I try to do better in front of an audience, so they think that I know what I'm doing, or if it's akin to a joke I read recently.

"How many artists does it take to change a light bulb?"

"Ten.  One to change it, and nine to reassure him about how good it looks!"

It always helps when you hear positive things.  Some like to hear only good things.  I'd rather have honest critique.  I did have an art instructor in a class setting once take a painting I was working on off my easel, look at it for a moment and then drop it on the floor, paint side down.  As he walked away, he said, "Garbage.  Start again." 

I knew the painting wasn't going well, but....

I probably should have picked that oil smeared canvas off the floor and framed it with all of the dirt, hair and unidentifiable objects now embedded in the surface.  "Studio floor - a study."  I could have been rich.  A whole new genre.  Floorealism...hmmmm.

Next joke...

"How many modern artists does it take to change a light bulb?"

"Four.  One to throw bulbs against the wall, one to pile hundreds of them in a heap and spray-paint it orange, one to glue light bulbs to a cocker spaniel, and one to put a bulb in the socket and fill the room with light while all the critics and buyers are watching the fellow smashing the bulbs against the wall, the fellow with the spray-gun, and the cocker spaniel."
Back to the portrait.  I have managed to get her face positioned in the right direction, but keep struggling with that nose.

The instructor says that I'm painting my nose.  When she said that, I went right to the paper towels and started to scrub my face for errant oil paint.

"No," she said, "You don't have paint on your face.  You're not looking at her nose, so you're painting a picture of the one you see every day....yours!"

"But," I protested, "I can't see my nose."

She grabbed my brush out of my hand and plopped the end of it on my nose, giving it a dollop of paint, and said, "Now, go in the bathroom and look in the mirror and clean that off and you'll see what I mean."

What's with me and these instructors and paint everywhere but on the canvas?

So, here we are at week two.  The model continues to be outrageously patient, holding her poses so well that you could almost tell time by the shadow cast by that nose, if she were outdoors during the day and were in the middle of a garden in the sun...she is good.

I wish I could do her justice and come up with something that really looked like her.  There are about six students in the class, mostly beginners, and as the model takes breaks I can almost hear her wincing as she passes the canvases of the various students and looks at our efforts.  I hope she doesn't drink.

Everybody who paints portraits wants to capture the likeness so that the sitter is pleased, along with the artist.  And, perhaps even someone who didn't know the model would see the painting and then the model would walk in and the viewer would turn quickly and say, "That's her...it's so good."

You never know when a good representation can come in handy.  There's a story that the artist Pablo Picasso surprised a burglar at work in his new chateau.  The intruder got away, but Picasso told the police he could do a rough sketch of what he looked like.  On the basis of his drawing, the police arrested a mother superior, the minister of finance, a washing machine, and the Eiffel tower.

See!

We have two more weeks of working on this portrait, so you will be treated to at least two more rounds of "what does the model look like this week."

I did a little bit of work on it at home this week (something you shouldn't do, as you should always be looking at what you're painting) and made some improvements.

Here it is now...let me know what you think!