Are Your Traditional Portraits Getting Stale? Try This Fix.

In the spirit of October, I thought this pastel sketch would be a fun one to share. I don't recall what the model was going for with this costume. Maybe a David Bowe reference or a modern gothic twist on Beethoven, but I imagined him to be an off-off Broadway vampire opera character. 

I enjoy working with models who are creative and go the extra mile by designing their outfits to better the artist/model experience. Traditional portraits are all well and good, but when a model arrives at an open session with props and costumes, you know it's going to make an interesting painting. 

Over the course of the past few years, I've had the opportunity to paint pirates, gypsies, circus themes, superheroes and pulp fiction characters. These creative subjects spark my imagination and tap into memories of my "younger years" when I was following aspirations of becoming a comic book artist.

The area of art I focus on now has apparently changed. However, I still fall back on my early training because the core principals of art are never affected by genre.

Title: The Vampire Opera
Painted On: Canson Mi-Teintes Ivy Pastel Paper
Medium: NuPastel & Stabilo CarbOthello Pastel Pencils
Dimensions: 9x12 inches.

Below the Surface

In this scenario, the model was mostly in shadow with a rim-light effect on his right side. The drawing below illustrates a true to life interpretation of how the model appeared. 

At the end of the drawing session, I was satisfied with the drawing in regards to the proportions and likeness of the sitter. However, the shading was too dark and gloomy for my liking. 

Before

The model was excited to be our subject of the day and had a lively personality. I felt that my drawing wasn't reflecting this aspect of the sitter. 

After

The correction (shown above), was to invent a fill light on the shadow side to clean out the heavy mood created by the excessively dark values. A few minutes spent lifting out the darks with a kneaded eraser transformed this entire drawing.  

By doing so, I was able to describe the forms of the face much better than in the first rendition and more importantly reveal the upbeat character of the model. 

I did do some minor finishes on his left shirt collar and better indicating on his ear but for the most part, this was a value adjustment. 

So, which version is correct? I'd say they both are. The "Before" for its "This is how it looks" honesty and the "After" for going beyond surface effect to reveal the sitter's personality. 

The Price of Free

For those of you who don't know, an open studio is when a group of artists contributes to the model cost and typically there's no instruction provided.

Some artists choose to "gift" their sketches/drawings to the models who were hired to pose for them in open studio sessions.

This kind gesture is nice to do on occasion especially when a model has inspired a large body of work. It shows gratitude and respect for the model.

I've recently witnessed an entire group freely give their drawings to the model at the end of every session when it was not contractually a part of payment.

I attended one such session and when I didn't present the model with my "free" drawing the model quickly began to question, "Aren't you going to give me your drawing?" Immediately followed by, "What are you going to do with it? No one is going to buy a picture of me."

I never experienced this before. I thought to myself, Wow, what a way to discredit years of study and practice.

Despite the chance of falling on deaf ears, I went on to explain that this is a profession and yes, I may not sell this particular drawing, however; it does have a value.

Needless to say, my response was reciprocated with a blank gaze.

My drawings become points of reference. I don't just stash them away never to be seen again. I will routinely go through my collection and critique them to see what areas I could improve on or simply enjoy studying the successful ones.

Every artist has their policies, but I believe when artists don't put a value on their efforts (hobbyist or professional) it devalues the entire craft.

(I'm not referring to donating work for charity fundraisers or Pro Bono work).

One Trick to Prevent Artistic Burnout

A great trick to prevent artistic burnout is to use a different medium. I tend to favor wet mediums such as acrylic or oil paints for the bulk of my work, but sometimes I find pastel to be a refreshing alternative and a perfect medium for sketching quick poses.

Pastel is a dry medium known for its ability to marry both drawing and painting simultaneously in the creative process. Today's available color ranges seem to be almost endless.

One can quickly become wooed into collecting and even becoming connoisseurs of pastel brands in the attempt to acquire just the right one for the job.

Artists who use pastel as their primary medium can push its boundaries further than ever before.

The sketch above is the result of a one session pose. I used a combination of soft pastel and pastel pencils after a linear charcoal block-in.

The dramatic lighting, the model's bold hair color and complimenting eyeglasses as well as being in a faux fur coat knowing that it was hot outside added to the inspiration of this piece.

* Pastel is available in soft and oil options.

Title: Chillin'
Painted On: Canson Mi-Teintes Ivy Pastel Paper
Medium: Stabilo CarbOthello Pastel Pencils, NuPastel, Rembrandt
Dimensions: 9x12 inches.

A Line of Wisdom

My goal in an open portrait drawing session is to record an actual likeness of the model. Many artists will flatter by making the sitter appear taller or shorter, younger, idealize their features give them plastic surgery on paper if you will. These are things to consider when taking on a commission piece.

However, in a drawing practice scenario all the quirkiness and so-called imperfections are an artist's playground. We have become so accustomed to seeing overly photoshopped, airbrushed, high key lighting that obliterates any chance of seeing a wrinkle that when we see one in our mirror, we're mortified.

It's okay, wrinkles are natural. You've earned them and if you don't have one, you will. So, include them in your drawings!

Medium: Stabilo CarbOthello Pastel Pencil & General's Charcoal White
Paper: Strathmore Toned Tan
Dimensions: 11x14 inches
Status: Available

Raise your Glasses

So many times in an open portrait studio setting its requested that the model removes his or her glasses. Followed by the comment, "Because it's so hard to draw glasses." Well, first you will never become good at drawing glasses if you don't practice. (Or anything else for that matter).

Second, glasses clearly reveal exactly how the head is placed in space. If you follow the front of the eyeglass frame where the lenses are and compare that angle to the temples (arms), you can have the head's perspective laid down quickly. The hinge of the frame can assist in deciding what the front plane and side plane features are.

In the diagram below, I used the hinge of the glasses to separate the front and side plane of the head. Based on the angle of the arm of the eyeglasses a cube in perspective can be established. Proportional divisions can be places if need be. I didn't physically draw a cube on my paper, but when observing the model, I superimpose the cube in my mind's eye.

This portrait is rather tame with its perspective. The more the head is tilted in space, the more you'll appreciate having the model wear their glasses.

Another thing to consider is that if you're going for a true likeness of a person find out if they wear glasses full time or only some of the time. Some people look completely different with and without their glasses. Eyeglasses can become part of someone's identity and character. Choosing to remove them can make an otherwise "correct" drawing still appear off in its attempt for a likeness.

Medium: Stabilo CarbOthello Pastel Pencil & General's Charcoal White

Paper: Strathmore Toned Tan

Dimensions: 11x14 inches.

Status: Available

Grey Matters

Above is an example of a Grisaille (Gray monotone painting) done directly from life. By mixing Raw Umber with White to create a range of value to render light on the form giving the illusion of three dimensions.

Color is not needed to depict form, space or to tell a story. Just look at the history of black and white film photography. It is said, "Value does all of the work but color gets all of the credit."

If you're having a tough time mixing and matching a color make sure you're in the correct value range first. That said, as long as the value is correct you can "push" color to the point that it is not representative of the actual thing that you're painting but will still read correctly in the context of the painting as a whole opening up a world of possibility for the artist.

One Step at a Time

As I have mentioned in previous posts, I make it a point to practice drawing from live models once or twice a week. The adage, "if you don't use it you'll lose it" is so true with drawing and painting. Frequency is the key to maintaining skill level and dexterity.

For me, drawing and painting aren't that different in approach. I took progress photos using my phone every 20 minutes during this portrait to document my approach. (See image below).

The first 20 minutes is the most crucial. I look for a comfortable placement of the head on the paper. I'm working a linear approach at this stage. The big shapes are laid out: head shape silhouette, division of hair vs. face, placement of features in correct proportions, etc.

Since I'm working from a living breathing being, I know when the model comes back from a break the pose will be close (with some direction) but will never be the same. Hair will change, fabric folds will always change, the model may make slight adjustments to make themselves more comfortable as he or she settles into the pose. If I don't get this first stage down and locked in during the first sitting, I'll be chasing the drawing for the rest of the session.

Second, 20 minutes is simply separating light vs. shadow shapes. At this stage, I transition from using the line to a tonal approach. No different than painting. It's about laying down big areas of value and getting the value relationships to read correctly. I even start to indicate lighter values with white charcoal. I'm using a terra cotta colored pastel pencil on tan paper by the way.

Third 20, is about refining value shapes, building lights & highlights as well as building texture in the hair.

Final 20 minutes, boy does that last 20 go quickly! Refinement and polishing are the objectives until the model timer rings. Don't forget a signature!

Medium: Stabilo CarbOthello Pastel Pencil & General's Charcoal White

Paper: Strathmore Toned Tan

Dimensions: 11x14 inches

Eat, Drink, Draw.

Drawing should be part of every artist's routine. The subject matter is less important than the act itself. An honest representational approach will be a better gauge of progress than that of the abstract.

Medium: Stabilo CarbOthello Pastel Pencil & General's Charcoal White
Paper: Strathmore Toned Tan
Dimensions: 11x14 inches

Variety = Interest

Variety keeps the viewer's interest. In this 3-hour portrait study, I'm playing with that idea. Careful drawing is important to achieve a likeness regardless of subject. Once correct measurements have been noted it is then the relationships of value, color, edges and texture that can make a static object or pose more interesting and a subject in motion exceptional.

Close-up example of hard and soft edges. Values are organized by light, medium and dark shapes. There are temperature shifts of warms and cools within each value family. Thicker applications of light against thinly applied shadows.

Representational becomes more abstract the closer one gets to the painting.

Utilizing both brush and palette knife to break any monotony in the application of paint.

Challenge yourself to find new ways to create more interest in your paintings.

Title: Turquoise Shirt 

Painted on: Student grade canvas board

Medium: Oil

Dimensions: 9x12 inches

Status: Available

Bedazzled

Landscape painters can move mountains, demolish buildings, shrink trees, reroute rivers and no-one would be the wiser. However, make a nose too long or not leave enough space between a person's eyes, and suddenly everyone's a critic. Even though my focus is mainly on landscape painting, I make it a point to incorporate working from live models a few times a week to keep my drawing skills up to par.

The drawing above is one such effort. Models come in all shapes, sizes, ages and genders. Include as much variety in your practice as you can.

Medium: Stabilo CarbOthello Pastel Pencil & General's Charcoal White

Paper: Strathmore Toned Tan

Dimensions: 11x14 inches.