Every portrait painting begins with a drawing, realistically conveying the features and the correct proportions of the head (a process my teacher Tony Ryder describes as "face wrestling").
Next, an "ink-in" identifies the main planes of the head and shoulders, the transitions between the planes, and areas of dark and light. The speed of transitions between forms is one key to achieving a realistic likeness.
The third step is creation of a separate color study (or "poster study"), capturing the light (or "field effect") for the final painting that will give the viewer an underlying psychological impression of the model.
Finally, the most time-intensive part of the process is the actual oil painting, with reference to the poster study and other earlier steps. The underlying drawing is perfected while painting, and additional subtleties in the form, color, shading, and tone begin to appear.
This year, I have been focusing on studying the light effects on people in quality photographs ("Jess and Henny"). I have also thoroughly enjoyed studying the light effects on people of color ("Angel" and "Angelique"). Commissions from high-quality family photographs are welcome!
