The Basics of Painting Portraits

There are some fundamentals of portraiture that one must practice in order to consider painting portraits. These steps include learning how to capture the likeness of the subject within a basic drawing and then being able to convey the coloration and tonal planes of that subject. The following paragraphs will give you some tips and areas of study that should help you.

To warm up and get the brain in gear, create a few contour drawings of your subject. Their purpose is to help you really see your subject and get the thought processes headed in the right direction. To start the actual painting, begin by drawing an oval or egg shape. Bisect this oval with a straight line across at about halfway down the face. This is to indicate where the eyes will be. Use of a line helps to make sure you don't get the eyes crooked when you draw them in later. Next, draw a line about halfway between the eye line and the bottom of the chin (the bottom of the oval). This line will be the position for the bottom of the nose. A third line is then drawn about halfway between the nose line and the chin, which indicates the placement of the mouth. The fourth line is drawn right down the center of the head, top to bottom. This is used to make sure the face is drawn symmetrically. After you have drawn two slanting downward lines to indicate the outer sides of the neck, the initial line drawing is complete.

This preliminary drawing can be made in light strokes with a hard pencil or with vine charcoal, depending on the preference of the artist. Some artists also use a light wash of dilute paint to do their initial layout sketches. This is especially good for setting in some light shadowing or dark areas as you begin to lay on color.

Now that the basic shapes are in place, start to "block in" basic areas of color and shadows. It is wise to lay on the tones you envision using in a very light topical application first. Then, as you flesh out the portrait, you add more and more paint in the tones you desire. In other words, keep your painting a bit "loose" - with light, broad strokes, not tight, careful strokes. Just lay in the basic shapes and colors.

Some artists use an old fashioned method to check the progress of their work. They reflect their painting into a mirror to see what areas are crooked or not working quite right. Looking at the drawing in the mirror helps "shock" your eye into seeing the asymmetrical areas. Drawing portraits with uneven eyes, a crooked nose, or a lopsided jaw are quite common in initial attempts to capture a likeness.

After viewing in the mirror, correct these problem areas and keep working. Keep in mind, however, that every person has some slight asymmetric parts to their face. No individual has perfectly even features. In fact, most people look unrecognizable if a photo of them is accidentally reversed. But there is a distinction between a slightly incorrect look and having features that are drastically asymmetrical.

Check to make sure the basic proportions of the painting are correct before moving on and putting down darker tones. Use the "eye-widths" measuring method to double-check and make sure everything lines up and isn't too large, too small, or not in proportion. It is much easier to correct major errors now rather than later when you have put in more detail and more paint. When you decide that the proportions of the face are accurate, continue to refine your portrait.

Start to add more detail and add fine elements like the pupil of the eye, detail around the lips and nostrils, and so forth. Don't be shy about problem areas and reworking them. Remember that the lightest lights are the last things to be used. Those sparkles at the edges of the eyes, a glowing tone on the cheekbone, and the like are some of the last details to be added.

Still consult the mirror several times during the portrait. Constant vigilance is needed in the initial stages of your portrait painting experience. It is quite easy to get the features out of alignment and a disappointing finish might result.

Take a break if you are having some trouble with a certain area or are getting frustrated because you are not getting the result you want. Frequent breaks can be very helpful, and will save you time in the long run. Don't keep on reworking and fussing and reworking and getting increasingly frustrated (and perhaps messing up your drawing in the process). Get away from the painting for an hour (or day) and work on another canvas, or just do something different for a while. More than likely, when you return to the portrait later, you'll find that you can solve the problem area right away. This works for artists no matter what the subject matter, but portraits can be rather intense and concentration so strong that you can get "too close" to it.

Try a self-portrait or two to start. This way you will not only have a record of your ability to capture likeness, but it will look wonderful in a few years when you have a retrospective of your work. And above all, relax and have fun.

"If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features."   -James McNeill Whistler (1834-1903), American painter

The Artist's Magazine Cover Competition

This cover competition is open to artists anywhere in the world. Only original artwork, conceived and created by the entrant, will be considered. Work done in photography, digital or computer-generated artwork and sculpture will not be considered. Winners will be notified by September 1, and the results will be published in The Artist's Magazine. Entries must be postmarked no later than June 15. For further information, see a copy of the magazine or go to www.artistsmagazine.com.

4th Annual Master Sand Sculpting Competition
Hampton Beach, Hampton, NH

From June 11-24, twelve world-class Master Sand Sculptors will compete for over $10,000 in prizes. The Solo competition is June 16-18, with the People's Choice Award from 1-4p.m. and the Awards Ceremony at 8p.m. on the 18th. Also see Greg Grady and "The Grady Bunch" build a mammoth sand demo site. For info, call 1-800-438-2826.

Tips to Frame Like the Pros

Framing presents several challenges and some are more easily surmounted than others. In the following paragraphs, some tips from professional framers have been spotlighted. They are designed to make your framing experience more enjoyable, to save you money, and to give you the best results possible.

Glass is an interesting subject and a very good place to begin. Some artists, like stitchery artists, think that glass is a detriment to their work and that it takes away from the detail and finite qualities. Glass, admittedly, can give reflections that obscure the items behind it. This is something that most people accept. The artisan who wishes to avoid that problem can still select a glazing for his/her work that protects but will not be so shiny. Everyone is aware of reflection control glass. It is used in high light situations but cannot be used when more than one mat is used. More than one mat will begin to soften the very detail the artist has worked so hard to create, so it might be necessary to consider other possibilities.

Conservation glass is available with a special coated surface on one side. This coated side is installed towards the artwork so that there are no cleaning considerations. It is available at custom framing centers and comes in both clear and reflection control. Acrylic is also available in clear or reflection control and may be purchased through glass replacement centers, sometimes at building supply centers, and art stores, too.

You don't have to be a professional to realize the importance and the correct use of glazing material. Just select what is best for the life and presentation of your items.

Many artists and designers set the frame components one at a time: glass, then art, and then backing. If you stack the entire package together, backing under art and art under glass, you can readily see if there is lint or debris under the glass and easily retrieve it. All that remains is for you to set the frame over the clean package, turn it over and attach the package with some means. Point drivers make the job very easy, but you can use hand-applied glazier points or long, thin nails.

As you put the package together, dust and debris is a considerable problem. Tips: Always cover the work area with a clean sheet of Kraft paper. This eliminates lots of work surface dust and lint and also provides a clean surface upon which to work. Cleanliness means fewer mat mishaps and lessens the possibility of artwork damage. If dust manages to creep in under the glass, there is a simple way to pick it up and get it out of there. Create a sticky wand at the end of a long, thin bamboo skewer. Do this by wrapping tape around the square end - sticky side out. Then carefully lift the glass and touch the sticky tool to the debris. Voila! The lint particle is there no more.

Dents in frames are so disappointing. When they occur, it is sometimes possible to remove them. If the dent is small, one way to work the depression out is to set a drop of distilled water in it. Let it set for at least 30 minutes. Often there are minute breaks in the finish and the water is absorbed and swells the wood back into shape. If the dent is major, you can use wood filler and sand the shape back into the surface. Tiny dents can often be "eased" out of a frame by gently rubbing the area with a smooth item, such as a burnishing bone. The dent often "blends" into the surrounding wood and disappears.

Gold finishes on frames are easily damaged. Look for metallic paint pens that are very high sheen with strong metallic content. Any dull, low luster gold will show and indicate an obvious repair. Applying a repair of composite gold leaf is sometimes the best way to go. Use gold leaf adhesive to prepare the surface, and then set the leaf in place. Allow to set for a bit, and then brush off excess leaf.

Suede mats attract lint like a magnet. One way to combat this is to use a soft brush to gently clean the surface. Draftsman's brushes or soft toothbrushes make great suede- cleaning tools. Using a clean cloth and the tiniest hint of distilled water to gently revitalize the surface can often eliminate scrub marks on paper surface mats. Setting on a small hill of talcum powder can often lift oil smudges. Allow the powder to set on the oil smudge and draw it out of the paper surface. Several applications might be needed. Be aware that cosmetic smudges do not come off and neither do nail polish stripes. Finger nicks and cuts are a hazard of matting. It is possible to lift off a tiny spot of blood with a cotton bud lightly charged with hydrogen peroxide, but be careful to use the least amount possible.

Ideally, framing projects would go smoothly and without mishap. But there are many challenges that seem to find their way into the process. Just remember to keep focused and think about each step along the way. If a situation arises, you can always get past it and still create a great presentation.

New Book and Stamp Pads from Jacquard

Hot off the press is a new book titled How to Paint with Jacquard, a project-by-project exploration of the creative opportunities of three quality artist paints: Dye-Na-Flow, Textile Traditionals and Lumiere--all manufactured by Rupert, Gibbon & Spider. The book contains over 20 painting projects--from silk hoops to denim to leather and furniture--as a source of ideas and inspiration. Projects include a listing of materials required, step-by-step directions, tips & suggestions, and color photos.

Each of the three paint types has unique characteristics. Jacquard Textile Traditionals is a line of 24 beautiful colors with a fluidity that makes them easy to apply. Dye-Na-Flow has a similar palette of 30 colors and is a paint that simulates a dye. The 24 colors of Lumiere paint shimmer with iridescent and metallic pigments to add extra pizzazz. Use Dye-Na-Flow to do washes, traditional silk painting or simulated tie-dye; and use the more opaque Traditionals or Lumiere for stamping, block printing or silk-screen printing. All three types of paint are available in 2.25 ounce, 8 ounce, quart and gallon containers and can be intermixed and used together.

Also new from Jacquard are Pearl Ex Stamp Pads, which are permanent on all surfaces, acid free, and archival quality. These are available in three series: Halo Colors, Classic Metallic, and Interference, with three dazzling metallic colors in each series. See your retailer for these new products and visit www.jacquardproducts.com.

New Return of Skull Master Set from Artool!

Artool Products Company has announced the availability of The Return of Skull Master by Craig Fraser! With names like "Frontal II," "Screamin' II" and "Multiple II," you can pretty much figure out that they brought 'em back! They did throw in a new one, "Lucky 13," for those who feel that any changes to the original Skull Masters would be blasphemy, but still wanted something new and skull-icious to play with. You can purchase them individually or save a few pieces of eight and get 'em as The Return of Skull Master Set! See your retailer and visit www.artoolproducts.com.

New Iwata Pistol-Grip Airbrush Filter and Studio Series Power Jet Pro Compressor

Iwata-Medea has announced their newest breakthrough in airbrushing technology and precision: the Pistol-Grip Airbrush Filter! Attaching directly onto the airbrush, the Pistol-Grip Filter is the final defense to deliver clean, dry air to your airbrush. Miniature in size, the super-fine, 5-micron filter element performs like a full-size filter separator. The clear filter bowl allows a visual inspection of built-up moisture and is evacuated through a spring-loaded release valve--without taking the filter off the airbrush! Also, the Pistol-Grip Filter features an ergonomic design, which acts as a handle on your airbrush to relieve muscle tension.

Iwata-Medea has also announced the addition of a new member to their very popular Studio Series team of compressors: the Power Jet Pro. This is the ultimate compressor for dual studio and workshop applications! The Iwata Power Jet Pro features a 2-liter air storage tank, has zero pulsation, and incorporates Smart Technology with a 2x Sprint Power 1/6 hp motor. Additional features include dual moisture filters, dual-mounted pressure gauges and airbrush holders, and even dual quick-disconnect ports! There is absolutely no maintenance and no mess thanks to the twin oil-less piston compressors. This mighty little unit is protected in a steel outer case and weighs in at a super light 26.5 lb., with a working pressure of 1 psi to 60 psi. The Iwata Power Jet Pro is a power-packed portable workhorse for dual as well as single airbrush use!

See your retailer and visit www.iwata-medea.com.

New Book and Fabric Cutting System from Alto's

Available now from Alto's is Pretty and Pieced by Laura Reinstatler and Carol C. Porter. This book is packed with plenty of timesaving tips, clear illustrations and step-by-step instructions for 11 new pieced quilts. Choose your next project from a perfect mix of unique contemporary and traditional quilt designs in sizes ranging from wall quilts to full-sized. From confident beginners to advanced quilters, everyone will love the easy-to-follow directions and quick reference cutting charts that lead the way from cutting to completion.

Also new from Alto's is Quilt Cut 2, which is ideal for all quiltmakers regardless of experience or skill level. New improved features of the original QuiltCut include the Cutting Guide with "easy-squeeze" release, the stainless steel Speed Gauge ruler for repeat cuts, the Speed Gauge that stays parallel to the Cutting Guide at all angles, the 26" x 18" cream colored Cutting Mat that won't distract from critical color selections, and the Clamp Bar that holds fabric securely and lifts higher for feeding many layers. Additionally, a great new instruction manual and free video come with every system. Visit www.altosezmat.com.

In the Spotlight: Fredrix Artist Canvas

Fredrix Watercolor Canvas -- Tips and Techniques
By Anne Brodie Hill, ASMA, GWS

The unique new Fredrix Watercolor Artist Canvas is manufactured with acid-free materials and is guaranteed to be 100% Archival Quality. On stretcher strips and Fredrix Watercolor Archival Boards, watercolor canvas will not buckle like watercolor paper when wet. Canvas rolls and pads can be cut to any size and should be stapled (or taped with painter's tape) either wet or dry to a " thick Gatorboard to prevent buckling.

Lifting Pigments--Watercolor washes can be lifted by simply wetting the area to be removed with a damp brush or moist cloth and then blotting or brushing the color off. Therefore, mistakes can be easily corrected or you may wash over the complete image and start over!

Highlights or "Whites" Recovered--Miskit can be used on the watercolor canvas or you can easily remove the pigment by wetting the area to be made white with a damp brush and blotting or drying the area with a tissue or paper towel.

Durability--Watercolor Canvas will not tear like paper does; therefore, scratching or scraping the surface will not harm the canvas. And removing the canvas from supports will not damage your artwork.

Watermedia and Mixed Media--Watercolor Canvas will perform similar to watercolor paper when adding layers of paints (acrylic washes work best) and other media. Some watercolor pigments will "lift" when applying glazes of color.

Collage Techniques--Acrylic matte medium or acrylic gel medium may be used as glue for collage work. (Follow directions on bottle of medium.) Apply the medium to the surface of the canvas (may remove watercolor paint from surface of canvas--so brush gently) and to the piece of collage material and apply the collage piece to canvas. Canvas may take longer to dry than paper.

Tape--Painter's tape can be used to attach canvas sheets to Gatorboard and will not tear canvas when removed. However, stapling generally works better than tape.

Wet-on-Wet Technique--Watercolor Canvas can be brushed with water on one side (or both sides) and will perform like wet watercolor paper. The canvas will stay damp longer than paper, so some experimentation may be necessary. The pre-stretched canvas and canvas boards will NOT buckle like paper. The canvas sheets will buckle, so we suggest that you staple or tape to Gatorboard.

Wet-on-Dry Technique--Watercolor paints can be applied to the dry canvas, as on paper, remembering that the canvas has a rough texture. And for stronger colors, use more concentrated paint. Also, be aware that pigment will "lift" if you go over the previously painted area with a "heavy hand." "Lifting" will not occur if you use fluid acrylics or waterproof inks.

Framing Without Glass--If you wish to frame without a mat or glass (similar to an oil or acrylic painting), spray with a good quality UV finishing spray such as Krylon or 3M to protect the surface from damage. Then frame as you would any canvas.

Plein Air--Fredrix Watercolor Stretched Canvas and Canvas Boards are excellent for painting outdoors in watercolor, especially since you will not need to bring any supports as you would for watercolor paper.

Large Sizes--Fredrix Watercolor Canvas is available in large pads and boards. These are great for large paintings that previously could not be done in watercolor and are ideal for mural work.

See your retailer and visit www.fredrixartistcanvas.com.

Assemblage and Collage

Assemblages are art creations that consist of a collection of different materials. These could include wire, wood, paper, and cloth--almost anything that "fits" the design and texture requirements of the artist. Collage is the art of gluing fragments of various materials to create an artwork. If you are tempted to throw both into the same category, there are subtle differences that are specific and vital in the eyes of the assemblage artist and the collage artist.

Assemblage artists create works from found objects or items gathered for specific needs in the design. These materials can be mixed in textures and density and usually are, as is the case of cloth and wood combined. Or they can be very similar in structure, such as scraps of wood in different colors, textures and thickness. Assemblages usually entail more physical involvement by the artist. They might be wired, welded, screwed or nailed together. Seldom is glue the primary joining apparatus for the assemblage artist. His or her artistic statement is more of a construction, a step-by-step adding of materials and found objects in a dimensional work that can be either hung on the wall or set in a position for viewing in a three-dimensional, walk- around form.

Collage is usually a two-dimensional art form. It involves gluing different items to some sort of ground to form a colorful and interesting design. It can entail many different textures, colors and fibers, but is essentially a "frameable" art piece. Different substrates can be used as a basis for a collage, but paper, illustration board, mat board, watercolor paper and the like are good choices. What is added to this foundation will determine the statement the artist is attempting to make. Smooth, thin sheets of colored papers with thin fabric additions make entertaining and interesting designs. Mixes of patterns and solids augment the end result and offer lots of visual excitement. Textured papers, boards, packing materials, woven sticks and twigs all add to the charm and character.

Collage can be calming or bold and energetic. The most daring of collage artists can combine thin metals, nubby fabrics and textured papers to form a cohesive and pleasing design. Formal collages do not have to be busy in design. Simplicity and common items such as stems and leaves in this style of art can draw in the eye of the viewer and engage him or her as quickly as flash and glitz. But there is room for any and all.

What separates assemblage and collage, as shown above, is the materials and the mentality of the art forms. Assemblage can be a bit brutal or barbaric in nature; collage can be gentle and calming. But everything is up to the artist and his/her thought processes during the creation of the work. That is what makes both assemblage and collage so invigorating. Materials differ greatly or can be similar, but it is the artist that makes the difference. Given the same materials, no two assemblages or collages would be identical.

Try an assemblage or collage and see why they are so much fun to create and such personal statements when completed.

Make It Look Metallic!

Using an airbrush to develop the illusion of metal, be it on a motorcycle tank or in an illustration, is a natural. Because of the airbrush's ability to render objects in a soft, photographic manner, it is fairly easy for the airbrush artist to make a metallic surface appear exactly as it exists--no matter if it is rusted steel or high-sheen chrome. The airbrush sprays paint onto a surface in a soft mist that is made up of tiny dots. There are no brush strokes in airbrush technique, so the light reflects off the surface of the work in a smooth, even manner.

There are two basic metallic surfaces to consider: a mat surface such as galvanized metal, rusted steel or aluminum; and a high-reflective surface such as chrome, gold or polished stainless steel. The allusion to either type of surface is easily achieved with the airbrush, but two completely different types of techniques are utilized.

Mat Surface

As the term implies, this is a dull, non-reflective surface that is generally developed using a freehand technique of airbrushing that utilizes handheld masks with a variety of airbrush sprays. For example, on a metallic surface that is rusted, there is an overall coloration that is developed by spraying overlapping passes of color onto the work surface. To add to the believability of this rendering, a stipple (coarse dot) spray of different colors airbrushed over the overall coloration will give texture and a mat finish to the illustration. A sheet of steel can be developed with a vignette (gradation) of blue paint sprayed in a freehand manner from one side of the illustration to the other. The natural soft dot pattern lends itself to the feel of the steel's surface. If the surface of the object being illustrated is coarser, such as with rust, a heavier dot pattern must be utilized to replicate the texture.

Stippling can be accomplished in three different ways. Some internal mix airbrushes are adapted with a stippling tip or a tip that is removed to do stippling techniques. The second method is to restrict the air pressure by turning the air regulator down to 1-2 pounds pressure. This way the airbrush will not spray its naturally soft spray, but will spit out larger droplets of paint as stipple. A third method is to use an external mix airbrush. This is a less expensive single-action airbrush that has an innately large droplet spray that is a natural stipple. An external mix airbrush can also be manipulated with the air source to make the sprayed dots even larger.

Reflective Surface

In airbrush art, many people envision high-sheen reflective surfaces such as sharp focus realist paintings with car bumpers, mirrors or glass or the robots of a science fiction illustrator. The unique ability of the airbrush as a tool to depict the realism of a shiny metallic surface is well known. The key to achieving this is painting what is being reflected by the object, rather than trying only to paint the object. Normally, when developing a metallic high-sheen surface, the artist uses a combination of freehand spraying and self-adhering frisket such as Friskfilm or tapes. No matter what the shape or object is, to make it appear shiny it must reflect its environment.

For beginners, a simple method to accomplish this is to paint warms (red, yellow or brown) and cools (green or blue) next to each other to give the appearance of the environment that is outside of the object and being reflected by the object. To the surprise of some, you cannot make an object resemble chrome by simply airbrushing it silver!

For a simple exercise, paint a sphere that is sitting on the ground. The green of the grass and the brown of the soil will be reflected in the bottom of the sphere. The blue of the sky and the white of the clouds will be reflected in the top of the sphere. Practice making simple geometric shapes look metallic or like plastic or glass. All of these are shiny and all can be approached in a similar way.

Here's a tip: As opposed to a convex surface, to develop a concave surface, the sky should be reflected in the bottom and the ground should be reflected in the top. Remember that the reflections are always abstract or distorted and painted in the local color (the color of the objects being reflected), which is muted.

Festival Scheduled--Art Chicago 2004 will take place May 7-10 at Navy Pier's Festival Hall. Over 200 distinguished galleries from around the world will assemble to exhibit and sell the works of over 3,000 artists. Call 312-587-3300 for ticket information.

New Entrance for Museum--The Brooklyn Museum, home to the second largest art collection in the U.S., has opened its dramatically redesigned and renovated front entrance and new public plaza. Developed by Polshek Partnership Architects, the new 15,000 sq. ft. shingled-glass pavilion, combined with the renovated lobby area of nearly 9,000 sq. ft., creates a new entrance facility that more than doubles the size of the previous lobby area.

Exhibition Creates Impact--National, regional and foreign tourists visiting the Metropolitan Museum of Art's acclaimed fall 2003 exhibition, El Greco, spent a combined $345 million during their visits to New York City, according to a Museum survey. The landmark exhibition, on view for approximately two months attracted 574,000 visitors, making it one of the Met's best-attended shows in recent years.

Prize Winner Chosen--Zaha Hadid, an Iraqi-born British citizen, has been chosen as the 2004 Laureate of the Pritzker Architecture Prize, marking the first time a woman has been named for this 26 year-old award. At a formal ceremony on May 31, a $100,000 grant and a bronze medallion will be bestowed in the State Hermitage Museum, followed by a reception and dinner in the Grand Peterhof Palace. The ceremony moves to a different location around the world each year, paying homage to historic and contemporary architecture.

Exhibitions:

Denver, CO -- Denver Art Museum -- Painting a New World: Mexican Art and Life, 1521-1821 is an impressive collection of approximately 50 works in the largest exhibition of Mexican colonial paintings ever assembled outside of Mexico. Visitors have the opportunity to experience traditional daily Mexican colonial life through the eyes of the artists and the people and places portrayed. Through July 25.

Detroit, MI, -- The Detroit Institute of Arts -- American Attitude: Whistler & His Followers celebrates the influential work of James McNeill Whistler and his impact on American painting. Included among over 60 paintings is his most famous work, Arrangement in Gray and Black: Portrait of the Painter's Mother, commonly referred to as "Whistler's Mother." Through June 6.

Omaha, NE -- Joslyn Art Museum -- Duane Hanson: Portraits from the Heartland opens May 8 and offers a fresh perspective on the late artist and his uncanny, super-realistic work. Included are 22 sculptures in bronze or autobody filler, a favorite medium of the artist, that span nearly 30 years of production and focus primarily on Hanson's Midwestern upbringing and its influence on his artistic vision. Through August 1.

Phoenix, AZ -- Phoenix Art Museum -- Degas in Bronze features a collection of 73 of Degas' bronze sculptures, including the famed Little Dancer. Known primarily as a painter and draftsman, Renoir was also considered a great sculptor by such artist contemporaries as Renoir and Cassatt. Through May 30.

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Copyright ARTtalk Vol. 14 No. 7 -- May 2004