How I Painted Joanna's Portrait

This is the finished portrait of Joanna. 20" x 24" Oil on Linen.

When painting in layers, it is important to understand that each layer is painted to facilitate the following layer - NOT to correct mistakes.

Start with a plan and draw it out in detail before you ever pick up a brush.

Of course I began with a raw umber toned imprimatura. See this.

When the imprimatura was dry I transferred the drawing to the canvas, used a black Sharpie marker for my guide lines and began to "draw" using raw umber and Liquin. I like to use a soft brush.

This is a close up detail of the beginning of the drawing process. You can see my drawing (cartoon) under the paint.

This is the finished raw umber drawing. It can be done in one day, but sometimes I take more time. Even though it gets dark, the Raw Umber is a warm amber and transparent.

Be sure to let this dry.

This is my first layer of white in building the "dead" underlayer. To begin, I scumble a mixture of Titanium White and Liquin onto the dry surface.

I used to use Zinc White but it has been found to be unstable.

Then I slowly begin to build up white as you can see in this detail. Except for some areas of the sky, I'll stick pretty much to the figure.

Note that light is applied thickly. Shadows are thin and transparent.

This is day two and I'm still building light.

This is a detail of how the light is built and as far as I wish to go on the figure and objects in the foreground.

I'm starting to glaze color into the background and put in the first skin tone glazes.

You can see the rest of my process here:

Painting Skin Tones one layer at a time.

Losing a Likeness and finding it - again and again

Old Master Color Banding in Portraiture

Manipulating the Original Reference Photos

Here's the finished portrait...

Portrait of Joanna

20" x 24" Oil on Linen

You might notice that I did not get a likeness above  (to the photo below) but I did get a likeness to the sitter, Joanna. There's a story here - read on.

This is the original reference photo I used. I took this photo in my studio without attempting to block any natural (indirect) daylight coming in the windows.

I used a Nikon D2X digital camera on a tripod and a Nikon Speedlight bounced into a white umbrella as my single light source.

This is a closeup of Lola the Pet Rat. When something in a photo doesn't "explain itself" - either force it to make sense - or just don't paint it.

There are "too many fingers" in this shot. I eliminated the unnecessary "extras."

I did not paint Lola's tail - it didn't make any sense in the photo and she looks OK in the painting without it.

You can see the "extra fingertips" eliminated in the final (detail) above. I think it makes more sense now.

Also, you can see that I turned the Antique snake bracelet around so it would "explain itself" and look like what it was in the final painting.

Also in the original reference photo, I did not like the skirt. It didn't drape nicely and wasn't interesting enough to paint.

So I took a white bed sheet and rearranged it with a similar light source. Then I photographed and "drew" it into the painting.

Now here's a glitch (and what portrait isn't without glitches?). In the final painting I had the "likeness" ....from the photo. But the photo "fibbed."

Joanna's face in my original reference photo looked uncharacteristically "fat." (I did not know this when I began the portrait.)

I had to "tweak the painting" until it finally looked more like the real person, Joanna, than the photo did. I used a combination of removing highlights and rearranging hair. I couldn't rearrange the anatomy (move ear,  jawline, etc.) - that would invite disaster bigtime.

Aaaaaaargh! Too bad we didn't see that in the beginning - groan - we could have easily chosen another photo to work with. 

Planning Joanna's Portrait

This is the finished portrait of Joanna.

20" x 24" Oil on canvas

It was a verrrrry complicated project. 

I was asked to include the following items in this portrait and wondered how on earth I was going to design this portrait to hold it all and not detract from the sitter, Joanna.

Here's what's in the portrait (besides Joanna):

A particular wooded scene

Figure sitting under a tree

Fall leaves

Foliage including herbs

Three special blue rocks

Deer antlers

Granite boulders

Gazelle

Blue jay

Wild boar

Lotus flower

Newt

Water (drops)

Wand

Trident

Snake

A circle within a triangle within a circle (symbol)

Luna moth

Sea turtle

Antique bracelet 

Antique ring

Feathers

And an adorable little pet rat named Lola

So....here's how I got it all in.....

Sketch #1

I took a reference photo, printed it out on my inkjet printer and taped it to a piece of scrap cardboard.

Then I painted on top of it (using oil paint) to determine the overall color and composition. If I'm going to show this to somebody, I am a bit more careful to make it look "good."

Sketch #2

I liked the background colors in this sketch.

I liked the two poses above but the client did not like the face so I did another photo shoot in my studio.

The picture above is complicated enough that I could sneak a lot of unrelated elements into it.

Sketch #3

This pix was from the second photo shoot. The pose was too contrived and it ultimately cut down on my background options.

Sketch #4

This is the figure I used but I didn't like the skirt so I changed it in another shoot. I lightened the foreground and added foliage to break up the form.

Basically none of these sketches worked out as is but it helped to clarify my thinking and gave the client some idea where I was going with this painting.

For the background, I used a combination of Sketches 1, 2 and 4 above. Sketch 3 shows how narrow the face is and it "looks more" like the sitter. Unfortunately I did not notice this in the original reference photo we chose. Drat.

The unassuming little oil sketch always saves the day! The little preliminary oil sketch will save a lot of time, materials and headaches.

Encaustic Portrait of a Woman

Portrait of a Grand Mother

12" x 12" Encaustic and oil on board

Commissioned Portrait

I just finished this little portrait (it is only the second portrait I have done in encaustic paint). I really love working in this medium because is so "immediate" compared to the way I usually work in oils.

For those of you who have never seen this process, here's how I began this portrait:

I gessoed a 12" x12" cradled (so it won't warp) birch plywood board. I used "Holy Grail Gesso." Do NOT use "regular" gesso - the encaustic paint won't "grab" onto the surface.

Holy Grail can come in different colors (if you order enough). I get mine from Evans Encaustics.

I use cadmium orange under very dark colors (like black). It adds "life and luminosity" where it is allowed to peek through.

I establish my main design values with a mixture of raw umber + white Holy Grail Gesso in different values.

On top of the Holy Grail Gesso, you can see my pencil drawing marks - the encaustic layer will cover them.

In this very first stage - the composition has to "work."

This is the first layer of encaustic paint. I was trying to establish the general value and color of the finished areas.

Of these two considerations, value is always the most important.

Despite that I may not account for all the colors in an underpainting I always begin with the intention and plan to include some representation of red, yellow, blue, black and white in every painting.

I always do my drawings on acetate so I can see through it. I used this drawing to transfer portions of the drawing for the Holy Grail layer and am reusing it to bet the details on the encaustic layer.

I will use and reuse this acetate drawing to keep checking throughout the construction of this painting to be sure that I keep the sitter's likeness.

To transfer my drawing to the encaustic layer, I use a sheet of tracing paper much like a piece of old-fashioned carbon paper.

Long ago I rubbed a white pastel into the surface of this tracing paper. I have a stack of sheets of different colors that I use.

Although this tracing sheet gets ratty looking with age, it works to transfer drawings to just about every surface for oil painting, encaustic, watercolor, etc.

Sorry I don't have more pictures of each stage but I layered oil and encaustic...until it was "finished."

I think that showing the early stages is far more important to this particular process.

I also like a "fancy" frame - just like the ones I put on my traditional oil paintings.

The Texas Chili Contest

Although this joke is probably old enough to vote, each time I hear it I howl and roar. Frankly (pun intended - see below) I think this "interesting" year deserves to end with a good belly laugh.

My sincere apologies in advance for a little salty/saucy language...I tried to clean it up but it just wasn't as funny....

Note that Judge #3 was an inexperienced Chili Taster named Frank, who was visiting from Peterborough, New Hampshire (the land of bland food).

When interviewed, Frank said "Recently, I was honored to be selected as a judge at a chili cook-off. The original person called in sick at the last moment and I happened to be standing there at the judge's table asking for directions to the Coors Light truck, when the call came in."

 

"I was assured by the other two judges (Native Texans) that the chili wouldn't be all that spicy and, besides, they told me I could have free beer during the tasting, so I accepted". 

Here are the scorecard notes from the event: 

CHILI # 1 - MIKE'S MANIAC MONSTER CHILI... 

Judge # 1 -- A little too heavy on the tomato. Amusing kick. 

Judge # 2 -- Nice, smooth tomato flavor. Very mild. 

Judge # 3 (Frank) -- Holy shit, what the hell is this stuff? You could remove dried paint from your driveway. Took me two beers to put the flames out. I hope that's the worst one. These Texans are crazy. 

CHILI # 2 - AUSTIN'S AFTERBURNER CHILI... 

Judge # 1 -- Smoky, with a hint of pork. Slight jalapeno tang. 

Judge # 2 -- Exciting BBQ flavor, needs more peppers to be taken seriously.

Judge # 3 -- Keep this out of the reach of children. I'm not sure what I'm supposed to taste besides pain. I had to wave off two people who wanted to give me the Heimlich maneuver. They had to rush in more beer when they saw the look on my face. 

CHILI # 3 - FRED'S FAMOUS BURN DOWN THE BARN CHILI... 

Judge # 1 -- Excellent firehouse chili. Great kick. 

Judge # 2 -- A bit salty, good use of peppers.

Judge # 3 -- Call the EPA. I've located a uranium spill. My nose feels like I have been snorting Drano. Everyone knows the routine by now. Get me more beer before I ignite. Barmaid pounded me on the back, now my backbone is in the front part of my chest. I'm getting shit-faced from all of the beer. 

CHILI # 4 - BUBBA'S BLACK MAGIC... 

Judge # 1 -- Black bean chili with almost no spice. Disappointing.

Judge # 2 -- Hint of lime in the black beans. Good side dish for fish or other mild foods, not much of a chili. 

Judge # 3 -- I felt something scraping across my tongue, but was unable to taste it. Is it possible to burn out taste buds? Sally, the beer maid, was standing behind me with fresh refills. That 300-pound woman is starting to look HOT...just like this nuclear waste I'm eating! Is chili an aphrodisiac?

CHILI # 5 LISA'S LEGAL LIP REMOVER... 

Judge # 1 -- Meaty, strong chili. Cayenne peppers freshly ground, adding considerable kick. Very impressive.

Judge # 2 -- Chili using shredded beef, could use more tomato. Must admit the cayenne peppers make a strong statement.

Judge # 3 -- My ears are ringing, sweat is pouring off my forehead and I can no longer focus my eyes. I farted and four people behind me needed paramedics. The contestant seemed offended when I told her that her chili had given me brain damage. Sally saved my tongue from bleeding by pouring beer directly on it from the pitcher. I wonder if I'm burning my lips off. It really pisses me off that the other judges asked me to stop screaming. Screw those rednecks.

CHILI # 6 - VERA'S VERY VEGETARIAN VARIETY... 

Judge # 1 -- Thin yet bold vegetarian variety chili. Good balance of spices and peppers.

Judge # 2 -- The best yet. Aggressive use of peppers, onions, and garlic. Superb. 

Judge # 3 -- My intestines are now a straight pipe filled with gaseous, sulfuric flames. I shit on myself when I farted and I'm worried it will eat through the chair. No one seems inclined to stand behind me except that Sally. Can't feel my lips anymore. I need to wipe my ass with a sno-cone.

CHILI # 7 - SUSAN'S SCREAMING SENSATION CHILI... 

Judge # 1 -- A mediocre chili with too much reliance on canned peppers.

Judge # 2 -- Ho hum, tastes as if the chef literally threw in a can of chili peppers at the last moment. **I should take note that I am worried about judge # 3. He appears to be in a bit of distress as he is cursing uncontrollably.

Judge # 3 -- You could put a grenade in my mouth, pull the pin, and I wouldn't feel a thing. I've lost sight in one eye, and the world sounds like it is made of rushing water. My shirt is covered with chili, which slid unnoticed out of my mouth. My pants are full of lava to match my shirt. At least during the autopsy, they'll know what killed me. I've decided to stop breathing it's too painful. Screw it; I'm not getting any oxygen anyway. If I need air, I'll just suck it in through the 4-inch hole in my stomach.

CHILI # 8 - BIG TOM'S TOENAIL CURLING CHILI... 

Judge # 1 -- The perfect ending, this is a nice blend chili. Not too bold but spicy enough to declare its existence.

Judge # 2 -- This final entry is a good, balanced chili. Neither mild nor hot. Sorry to see that most of it was lost when Judge #3 farted, passed out, fell over and pulled the chili pot down on top of himself. Not sure if he's going to make it. poor feller, wonder how he'd have reacted to really hot chili? 

Judge # 3 - No Report 

Tickling Your (Holiday) Punny Bone

This guy goes into a restaurant for a Christmas breakfast while in his home town for the holidays.

After looking over the menu he says, "I'll just have the eggs benedict."

His order comes a while later and it's served on a big shiny hubcap. He asks the waiter, "What's with the hubcap?"

The waiter sings, "There's no plate like chrome for the hollandaise."