New week, new portrait challenge 🙂
This time around, the subject is a man of around 60, and as usual I based myself on a photo. It took around 2h to finish. Once more, I haven’t really analysed the structure of the head based on the head planes – I should really start looking into them more seriously.
The skin might look a bit too smooth for an elderly person, however I am quite happy with the way I rendered wrinkles and the lost elasticity of the skin around the eyes. But in fact the eyes are not the focus of this portrait – as it was the case of my previous portrait project. In my opinion, the focus in this one is the subtle smile, the position of the head and the overall handsomeness of this particular senior citizen. The intention was to transmit the affection and love the person probably felt when the photo was taken.
I was a bit nervous about how I was going to draw the beard and hair, especially that there is a mixture of very white hairs and some darker shades, especially in the brows and corners of the mouth. I think it came out realistically and this is how I did it: I started out with a bigger brush (used something not very smooth – oil brush or chalk), in a darker shade of gray. Then I moved to smaller and smaller brush sizes up to pure white and tried to imitate the position of the hairs as they were on the reference photo. Did not blend because i wanted for the hairs to be distinguishable (and that it doesn’t become a compact mass of silky white hair).
The final touch was the burn tool which I used with a rather low intensity so as to darken precisely those areas that I wanted in the beard, brows and hairs. I did not have to use the dodge tool for this one. For this portrait I did not have to liquify virtually at all, although I flipped the canvas several times.
I’m looking forward to the next portrait subject 🙂 !
Last week I started – somehow incredulously – my first ‘serious’ portrait project. To my surprise it came out much, much better than I could possibly expect. This was based on a photo and I am particularly proud of the left eye that really captures the personality of the person depicted (the photo was very good in fact).
I have to confess that the ‘head wire‘ I had studied years ago really helped in the initial phases of the painting – deciding where the eyes, nose and mouth go, what is the ratio between them so as to reflect the true appearance of the person’s face etc.
I would really like to push it further however, because I have the feeling I don’t fully master the different planes of the head, which I feel were quite important in this particular portrait. The photo I used as a reference was black and white with very discreete contrast, particularly in what the cheeks, temples and nose were concerned. More pronounced were the cheek lines (that define the smile) and the eyes. I had to guess most of the time where the light and the shades would go so that it would fit the head frame of the person.
Another challenge was the hair. Of course, I followed the precious advice of Istebrak in her hair tutorial, but had some problems finding a good brush for it. I think I could have done a better job if I had a better brush – when I find one that I consider perfect for the job I will post it here for free 🙂 Overall, I’m quite happy with the result, but am a bit disappointed with the ‘silky’ look.
Finally, I definately have a problem with hands, and plan to dig into some studies for that as soon as I can. Should probably also build my patience, because I tend to spend a lot of time on things I already know how to draw (like eyes) and then rush through the neck, shoulders and hair.
I have to also confess that I had to use quite a lot the “liquify tool” to solve some rather big issues of face simetry. One very, very good trick for this has been to flip the canvas. It really changes the whole perspective of the drawing and helps find the spots where you’re way off the charts with the ratios. It does have a depressing effect though – because you think you’re doing beautifully and then flip and realised you’ve created a sort of king Quasimodo of all the portraits ever drawn.
Anyway, this was pretty much the process I went through while painting this.