Saturday, August 10, 2013

Gary update 4



I know, everyone is likely tired of this week of little updates, but this is a bit more substantial I hope.

I've had a free morning and the brush and brain seemed to kick into high gear so I made good inroads on this portrait of Gary.  I'm still in colourful, impressionistic mode and so far its working, at least in my eyes.  Gary may be horrified! :) 


Here's a closer view showing more of the strokes and colours.  As always, the camera and my photoediting skills fail.  The portrait is...pinker...in real life.  If the sun comes out and I get some decent light I'll try for another photo. 

A note on colours for those thinking of what colours I used and why.  In anything, its really not about colour, but about value that makes or breaks a painting.  I could use any colour on the face and if it is the correct value for light or shadow, it would work.   However, in most skin tones for caucasian faces, there is the traditional palette that I use consisting of:

Cadmium red light
Cadmium yellow light
Yellow ochre
Sap green
Manganese blue
Ultramarine violet
Titanium white

From these colours, all the variants arise in the stronger pastel shades of blues, violets, oranges and pinks that add interest.  I haven't used any medium with the oils, but mixed colours out of the tubes, washing the brush in odorless turps when required.  The strokes are not blended much, its more like studying the light and shadow, choosing a colour then laying down a stroke.

There are still refinements to be made on the face and the shirt to be done.  The background is an off white that I may darken a little in spots for interest.  I wanted that contrast with the figure and intense light instead of a traditional darker background.

6 comments:

Celeste Bergin said...

Well, for me I'm not going to get tired of the updates.... because I know this guy!! haha!! You are doing an amazing portrait. You have really caught his look. Love it!

Gary L. Everest said...

Good Morning Jeanette,
I'm laughing at Celeste's comments, because she's never seen this pose, or look on my face--not in person, anyway. Luckily, for the general health and safety of society, I reserve such grotesque faces for self-portraits! :)
As for a critique...praise is the only thing I can offer. It's accurate and much, much more. Not simply rendered, this is a work of art, with your hand and heart visible across the canvas. It's what I would like my work to look like, but I'm working against a lack of formal basic art training and the obvious mental issues.
This portrait is bold and professional looking. It clearly demonstrates the artist knows their stuff with respect to draftsmanship, composition and value and color. It's most impressive and not because it's me.
The most impressive thing is that you could have stopped anywhere, including at the initial sketch, and it would be recognizable and complete. So, stop if and when the mood strikes. It's a fine painting and it was a fine drawing and you should be very proud of what you were able to create from only a reference photo (which might not have been your choice) of someone you've never seen in person.
There, Jeanette. How's that for a non-critique? Enjoy those wild blueberries.
Sincerely,
Gary.

Jennifer Rose Phillip said...

I enjoy seeing the progression of work, more so when its a painting since I am not a painter and its nice seeing how the tones and textures are built up :)

Jeanette Jobson said...

Its scarier doing a portrait of someone I know, even if only in the ether, than someone I don't, so I'm pleased you like it so far Celeste. All the more so as you've met Gary in person.

Gary, your kind non-critique has me smiling. But you sell yourself very short. You are an accomplished portrait painter with a lot of faces under your belt, all of them stunning and ones that people treasure I know.

My style always was tight and controlled but lately I'm branching out and loosening up with palette knife paintings and more impressionistic work, which I'm enjoying. That loosening up really has pushed me away from tighter work, although I do drift back there without thinking too much.

The ability to add colour (and usually subtract it too) give me room to experiment visually.

I like most stages of a painting, more so the drawing stage, as that was my predominant training forte. Often I hate to go past the drawing stage as I know it pushes me harder when I get into colour.

And the blueberries were delicious. I will have to pick more.

Jen, its always interesting to see a progression I think too. Its like thinking out loud.

Sue Pownall said...

Interesting. I've just looked at all 4 posts (to date) and read Gary's comment above - stop at any point, oh how hard that is for us artists, isn't it? I love it in all the stages.

Jeanette Jobson said...

Indeed it is the hardest part of painting Sue, that stopping bit. A portrait goes through so many stages and its so easy to overwork it or not work it enough. Such a fine line.