Portrait of a senior man

New week, new portrait challenge ๐Ÿ™‚

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.

senior-man-portrait

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.ย 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 ๐Ÿ™‚ !

Peloponnese Coast – first landscape

Something bothers me about this landscape and I can’t put my finger on it.

I started off based on a photo, so the coast line is pretty accurate, except that there was a tree in the foreground which I thought was taking focus off the real star here: the sea and the multiple coast plans that keep perpetuaiting in the horizon until it melts in the mist of the sea.

I’m also happy with the way the mountains disappear in the clouds with a kind of a pinkish halo, I think that came out quite realistic. The clouds are quite realistic in my opinion, and absolutely love the little ray that goes down on the middle coast.

peloponnese-coastNow enough with the things I like about it, there are many things I don’t like. First, the foreground if too big – the big part in black below. I didn’t really know what to do with it, and I kind of just left it there. I’m not very happy with the middle chain of mountains eiter – I guess they look much better than what I had initially drawn, but there’s something I could have done better – especially in the part where the land meets the sea.

Finally, I should have studied more the sea, but I don’t feel too sure of myself with some of the photoshop tools, so I guess I will just have to keep practicing. One thing I will try next time is to use textures and the lasso – which apparently really help with the lighting and controling what is modified and what is not.

I used several brushes, mostly however I used this set of dry-oil brushes:ย https://sellfy.com/p/GomE/. You can kind of see the edge of the brush on top of the middle mountain range.

I’ve also used quite a lot the dodge and burn tools, colour / hue / saturation adjustments. No liquify tool this time though ๐Ÿ™‚ The final touch was a layer of pink (something like this) which I applied in overlay only on the upper half of the painting. This made the sky look grey and grim, while the sea was left vibrant, since in my head this was a local storm (in the background you can notice that the light really brightens up and slides under the clouds carried by the moisture. So the storm just passed, the clouds are going away and we see the first ray of light coming through the clouds.

All that is missing here is a trireme making its way to a little port somewhere on the coastline ๐Ÿ™‚ and perhaps a hoplite or two mounting guard in the foreground. Okay, I might work this landscape more !

Thanks a lot Istebrakย for your amazing landscape tutorial:ย https://www.youtube.com/watch?v=japZUai8jAkย 

Portrait – 1st attempt & self critique

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.

day4_greyAnother 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 ๐Ÿ™‚ 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.