I just finished this little encaustic, oil and graphite portrait.
(Jesse) Mitchell Bailey, 1918-1945
10" x 10" Encaustic, Oil and Graphite on Board
Detail of Mitchell's face.
This was a very difficult portrait to paint because:
#1 My reference material was poor
#2 The finished head is extremely small (1.75 inches high)
#3 I used encaustic paints and since I'm a beginner in this medium, my skill level is not up to snuff - yet.
Now, in the "DO AS I SAY BUT NOT AS I DO" Department....
I agreed to this job for no good reason.
It came with awful photo references (as you can see from the faded 70+ year old snapshots below). But merely because I had a beloved aunt named Jessie Mitchell I grabbed the job...go figure.
I was totally prepared to not have the client like it - but I wanted to paint it anyhow.
Mitchell died tragically at the age of 27. He had a strong, angular and exceptionally handsome face. He had been an oarsman at Yale and stayed in shape.
In my research I found an old magazine cover with a 1908 Leyendecker illustration of a Harvard Oarsman and leaned heavily on that as a basic body model. (So noted on the back of the painting.)
Per usual, I made his head too small so he would appear more "commanding and in charge." Read more about why I mess with reality both here and here.
The overall "softness" of this portrait is characteristic of the way I am currently using my encaustic paint.
Some Nerdy Technical Details:
For starters, I've cranked up the heat on my encaustics and am working at 250-275 degrees F these days. Maybe hotter if I dare...
I did a little graphite drawing of that face (backwards) on tracing paper (I made-up shadows & added an ear) and transferred that, thus destroying the paper and embedding just the graphite into the first layers of encaustic.
Then I used a brush with powdered graphite to finish that face drawing in wax before I sealed it with clear medium. The face was too small to paint with a brush accurately but using a soft graphite pencil made it easy.
What I love about encaustic paint is that it is such an "immediate" medium. For example, if you hesitate a wee bit too long, the melted pigmented wax on the brush will harden and that brush will will stick to the surface and make an awful mess. Naturally I speak from painful personal experience. :o)
The rest of the painting is my usual layered mix of encaustic and oils.
I am only beginning to explore what this unique encaustic medium offers.
"Engrave It!" of Keene, NH supplied (they ship) the 1/2" high brass nameplate for the frame because I simply couldn't handle lettering that small in this medium.