Kevin, those are beautiful paintings. Glad to see your color stuff.
mmza, no, I dont know craig Nelson. I have heard of him though.
These are more, these paintings, are more like life characatures. I would not call any of these a finish. Finishes have much more to them, the paintings I am doing are going towards the spontaneous, in hopes of those Sargent/Sorolla strokes, or, one stroke describes shape value and intensity/color all in one.
I will post some of my more finished works when I can shoot them, as i have to get them back from the clients to get some images shot.
mmza, that last painting has such wonderful colors for the ethnicity. Beautiful stuff once again. Where was/is your schooling? I love your palette of choice.
Ron - I went to the academy of art in Sf. Most of the life paintings I've done were from painting workshops at the school (3-6 hrs poses). We tried running longer sessions, but most people seem to lose interest in the pose ( and their painting) after 6hrs., a shame because I would love to work on more finished paintings from life.
great to see everyone's different approaches to figure painting. Keep this thead going!
Hello all. Great thread you've started, jrr. Here is a recent painting from a workshop. I've been at it (painting) for about five months now. At first it was quick sketch painting in figure drawing class, but now I'm trying to use color.
This thread is really great. I just recently started trying to do portaits, and I am finding it hard to nail the likeness of models who keep moving... any special tips?
Since it looks like there is some freedom to post here, you can take a look at a painting I have yet to finish, but I think is turning out well...
I'm afraid it clashes with the skill level of some of the others here, but, it is a decent likeness.
Originally posted by AubreySerr This thread is really great. I just recently started trying to do portaits, and I am finding it hard to nail the likeness of models who keep moving... any special tips?
What helps me is to sculpt in the large planes of the face before placing the features. The structure of the overall head will add more to the likeness you're trying to capture, more so than if you happened to paint the smile of the model just right.
KChen's first row of figures are a great example of a good blocking in point, from there it makes it so much easier to slide in the features and details even if the model isn't exactly in the same position.
What I really like about this piece is the treatment of the hair and shirt, try to keep that bold more confident strokes throughout the painting.
mmza, that is awesome. A likeness is not about detail, its the shapes in relationship to each other. If these are not likenesses, you still have unique people in each image. No two are alike at all. they all have a strong sense of volume, form(same diff) value, and character. These are wonderful images. Take Kevins advice on likenesses,its the silhouette, and that is the biggest shape. Then it is the inner silhouettes, the hair line, the tooth cylinder volue, the keystone of the eyes...and those are also just shapes. But relative to all the other shapes. Keep thinking like that, and not details, and you will get it right, then its jsut a matter of finishing one of those starts to completion to know your hand that will tell you you have madeit and you understand.