Howdy, Stranger!

It looks like you're new here. If you want to get involved, click one of these buttons!

You can send an email to forum@drawmixpaint.com if you have questions about how to use this forum.

Study: A few portraits (only faces)

edited April 12 in Painting
0. Under painting stage but very similar to Sargent's paintings. All the values are present. Complete in itself.

1. Very rough handling; Only putting the right values and not smoothing the paint. Body of the paint is thick but luminous due to Maroger medium. Focus on form.

2. Again a very rough handling but paint has less body. Focus on tone.


3. Almost a later stage of No. 2. but edges of all the color being blurred with brush but not mixing all the colors that are there though. Focus on form and value.


4. Similar to No.3 but economy of strokes is a highlight. Focus on form and value.


5. Are extensions to No.3&4 but more smooth but existing values were not disturbed. Focus on paint surface.


6. A more blended approach for the face. Very few hard edges. Paint surface is very smooth but the starting faze is similar to No.2. Focus on paint surface.


rautchetanSummeranweshaRichard_PmichalisEstherHlilywangIrishcajunJulianna

Comments

  • In terms of the style, no 4 is my favourite.
  • I more than like number one because of its intensity, depth, and passionate use of color.  A fine example of why photographs haven't succeeded in killing off fine art. 
    NanaBean
  • edited April 13
    Except for Leffel's, all the others have but one style with many stages of finish. I belong to somewhere between 1. And 2. I like painting rough.
    BOB73
  • Is Leffel's number 5?

  • Richard_P said:

    Is Leffel's number 5?


    @Richard_P no it is No1.
  • I admit, I like all of them. Each one for his own style and choices he/she made... when I scroll through them, I can feel a big difference of intensity in the eyes... not sure if this has to do with the painting technique or the models and their characters... for me it has not only to do with the fact that some of them look straight in our eyes...  interesting to scroll up and down and think about it! Thank you Kaustav!
    KaustavBOB73NanaBean

  • EstherH said:

    I admit, I like all of them. Each one for his own style and choices he/she made... when I scroll through them, I can feel a big difference of intensity in the eyes... not sure if this has to do with the painting technique or the models and their characters... for me it has not only to do with the fact that some of them look straight in our eyes...  interesting to scroll up and down and think about it! Thank you Kaustav!


    @EstherH ; I think it has to do with models, artists own impression of the model and a particular mood that the artists was trying to create.
    BOB73
  • #5 above really grabs me. The values are perfect and the brushwork and texture are delicious to look at. When/if I ever start painting portraits that's the sort of thing I'd have in mind.
  • #6. For a portrait of a lovely lady, thats it for me. A style that presents beauty and the eyes are great. Like leffels "brashness" though. They are all great really. 
  • What a pleasure to look at these!
    Forgiveness
  • Wow. Did you paint all of these? #1 of David Leffel looks exactly like his self-portrait. He is considered the modern day Rembrant and you seem to have nailed his work stroke for stroke exactly. I honestly cannot tell the difference! Awesome.
  • @TaylorI No no! I didn't paint any of these. I can't paint like these masters. These are just close-ups of originals. I posted these for everyone to study the techniques of these masters. It is almost the same technique that has different stages of development.
    TaylorI
  • @Kaustav oh! Thank you for the clarification. That is very kind of you to do. What a great idea to just paint faces.
  • This is a very beautiful portrait by Jeremy Lipking. Let's analyze this portrait below.























    You may think that it is polished because you are seeing it small above (like a magazine or internet photo). There are more things. Below are some of the details.
    There is a huge amount of roughness and abstraction in the face area.
    But like Mark said - 'his values are right'! Think about how abstract
    the other areas could be.


    I also analyzed the impact of light upon edges. Without a very keen attention onto the edges a subject cannot look three dimensional. This is totally dependent on re-creation of the effect of light hitting the surface. Observe the brushwork to create movement.


    Let's look at the top of the head.

    he has almost three areas of value:
    1. Just outside the endline of the head there is a very faint edge, which signify thin layer of hair.
    2. Violet colored area. This received reflected light.
    3. Dark area. It is just totally obstructing the light. But still there are some small lighter hairs.


    Same principles were followed for this white blanket. Observe the brushwork to create movement.



    Same principles were followed in the background. Notice the edges - either sharp or hazy. It depends upon the plane. Also notice that the background, blanket and the hill do not have too much paint layers. May-be just one or two coats.
    Irishcajun
  • edited April 30
    Beautiful painting and a good analysis @Kaustav. Those details - edges, reflected light and brushwork - make a world of difference. Without them this painting would be flat and unconvincing. I think one of the big things in painting is learning how to see. I mean learning to really tune in to what can be seen and forgetting what we know or think should be there.  In this picture the painter has left out a lot of distracting detail, (in the background for example) that would take our focus away from the figure. So knowing what to leave out is also important.

    Thanks for posting this.
    KaustavRoxyForgiveness
  • @tassieguy   Seeing, understanding and knowing how to execute are the only problems in painting in terms of technicality. 
  • Thanks @Kaustav You are becoming quite the professor. I'm learning a lot from your work and your advice.
    Kaustav
  • It is a wonderful painting :)
    Kaustav
  • Watch how Vladimir Volegov plays with color. Never becomes muddy! It is always fresh.


    Forgiveness
  • I like the range of colors he uses, this expresses a lot and makes such good sense.


  • I like the range of colors he uses, this expresses a lot and makes such good sense.

    Volegov uses a lot of bright colors, especially whites and yellow but the magic lies is his muted colors for reflected light.
    ForgivenessIrishcajun
  • edited May 6
    It's wonderful just how he does that! I may try copying this one as an exercise sometime soon. 
    Kaustav
  • This is really great post! Thanks for your insights. 
    Kaustav
  • one think I continuously check is group on facebook named "Hi Resolution Paintings and Close Ups!". People are sharing mostly hires photographs of paintings. It is always pleasure to see closeup of any master painting.
    I found there for example this painting from Sorolla - those brush strokes, just amazing. I will be happy to hear analysis on this one :)

    Here is the link for FB group.. 
    rautchetan
  • Thanks @Jaromir for sharing the link!
  • It is a great exercise done by the master. All the aspects such as values (logical), abstraction, tone, shapes (presumably), edges and modeling are perfect,

    rautchetan
  • About the video of Volegov. So this kind of paint handling will be able with Geneva paints or not? How difficult it is to paint over the top of other paint layer? I saw a video from Lipkin, showing his portrait painting process. He made a base of flash tone and after that he started to "draw" in all the features like eyes etc. I guess Geneva paint is not ideal for this kind of painting, right? 
  • @Jaromir well, if you are following Mark's DMP method the painting process is both simple and complex. You will determine all the colors in the beginning but determining everything at the starting point needs time, careful attention and practice. But the thing is that you won't be inventing too much; once your values and tones are in place, you can just work on the details and shapes by pushing or putting more paint.

    This is a small area of Lipking's painting. He uses optical mixing technique (broken color). But in DMP you can mix the exact colors and put them side by side to achieve similar effect. 

  • Kaustav said:
    But in DMP you can mix the exact colors and put them side by side to achieve similar effect. 

    This fine point really struck a chord with me.  These days I have to decide in advance the method I will use for a particular painting.  I don't use the same method for every painting.  Some day I hope to settle down with one unique style of painting that will be my signature style--years from now I fear--haha.  Summer
    Kaustav
  • edited June 11
    Hi Everyone,

        What color groups should I aim if I want to paint something like this?

         

    The skin seems to have lots of colors and values....
  • I see red and yellow ochre, raw sienna too. but Kaustav would have a more expert opinion.
    rautchetanrddionne
  • edited June 11
    Hmm yes Bob it has so many colors that it's confusing whether I should make steps for all the colors or make just for reds/skin color and then change the color of similar value a bit to match ochres and sienna...
  • @rautchetan and @BOB73 going with this particular picture, without complicating things I would say: 
    1. Face and hair a single color group. I would put reds, greens and yellows of similar values side-by-side.
    2. Background a separate color group.
    3. Collar as another one.

    I don't know if you'd agree to this but this will work for me if I am following Mark's method. This only has one subject. No need to complicate things here.
    rautchetanBOB73
  • This thread is really a meaning topic!
    Kaustav
  • .very interesting 
    Kaustav
  • @Kaustav ;  what a wonderful topic and examples.  Thank you for this.
    Kaustav
  • This is becoming more significant and meaningful as time goes on here. Absolutely fantastic!
    Julianna
  • @Kaustav ;  I just wanted you to know that I keep coming back to this thread over and over again - thank you so much for taking the time to post all of this.
    BOB73
  • Kaustav and Dencal especially are the real serious students here along with Summer and some others they have studied and experimented so they can take the complex and break it down in terms we (the novices) can understand. Thank you professors.
    PaulBForgivenessanweshaRoxy
  • Thanks @Forgiveness ; @Julianna ; and @BOB73 ; @chirchri ; @rddionne ; People get distracted by brushwork, colors, texture etc. but they overlook the factors such as values, abstraction, random shapes, overall shapes, edges, a good composition, a great theme. Without these good realism is impossible. Face portraits are easiest once one understands these concepts.
    ForgivenessBOB73Julianna
  • @Kaustav and the thing that I love about your work is you never lose sight of a good composition and great themes.  I love paintings that show the soul of the artist and you are genius at that. 
    PaulBBOB73
Sign In or Register to comment.