Artist’s Hints AND tips

Skin colours and tones: This is a very important area and is subjective to each individual artist. I find testing the mixed colours on the palm of my hand offers a good colour/tone indicator. Tonal value scale: I use a ten step tonal scale, with ‘0’ being white and ‘10” being black with tonal steps between. Prepare and take good reference photographs of the model. Face and figure proportions are always important to the portrait artist, and can take much practise to fully understand and apply. A good reference photo is a valuable tool to assist this understanding. Photographic reference: In a perfect world, I love to paint from the model during live studio sittings. Unfortunately, in our modern world this luxury is not always available. Therefore, I often choose to paint from photographic reference I have shot, and from my own sketches. It is a good idea to photograph any significant aspects of the model or pose that may be useful in the future e.g. hands, feet, eyes, smile, jewellery, apparel, props, etc. However, my motto is “Never let a photograph get in the way of a good portrait!” or any painting for that matter. Meaning, I don’t get caught up in painting an exact copy of the photograph reference. I often seek out multiple photographs that capture what makes the model interesting and unique. From these and my reaction to them, I then build a good portrait based on sound composition, tonal range and colour choices. I have combined elements and aspects from four photographs taken of the model during several live, in-class model sessions. Always with permission from the model. Having good reference photos that capture an authentic likeness of the model is an invaluable asset to the portrait artist. Photographing and lighting the model: With digital cameras, we have the facility to shoot and instantly check photographs to ensure the results are correct and what is needed for a good portrait. Some basic guidelines: 1. Never use the camera flash when taking reference photos intended for use in painting or drawing. (The flash flattens your subject’s details with direct flooding light which removes the subject’s form and modelling which causes the subject to appear very flat and washed out.) 2. Use lighting from above and to one side of the model, this creates what is known as three quarter lighting, and produces good modelling of the form. 3. Pose the model so they are looking slightly to the side unless you specifically want the direct look for your portrait. 4. Have appropriate photographic reference - minimum size (A5 better at A4 or larger if required) Print photographic reference onto high quality, coated photo papers and always print them large enough so you can see the details and features of the model. If any areas are still too small to see clearly, print those areas out again at a larger size again. Make the portrait experience easier and use good, clear, large photographic prints and they will always be your best friend. Canvases and boards: I use 12oz cotton canvas, stretched onto timber stretcher bars. This offers a firm, but characteristic bounce under my brush as I paint, which almost feels like the canvas is flexing and responding to my brushes touch. Quite lovely and enhances the painting experience. Paints: Use the best paints you can afford: ‘Artists Quality’ is the best choice as it offers a robust, smooth and buttery consistency, which is a pleasure to paint with, and is ‘light fast’. Cheap hobby paints don’t offer the same painting experience as they have very low pigment content to binder ratio, with little or no light fastness. In my experience, these cheap paints greatly detract from a pleasurable painting experience. Always put plenty of paint out before you start. If you mix a special colour, mix a lot more than you think will be needed, as paint is cheap and a special colour can be difficult to remix again if you run out. White plastic picnic plates with smooth bases make great acrylic palettes. Use two plates, as the second plate goes under the top palette plate to support it as you paint, then doubles as a cover and lid for your palette plate when not painting. Use a purpose made ‘Fine Mister Water Sprayer’ to keep paint ‘hydrated, active and alive’. Do not over-wet the painting surface or your paints! (Do not use garden sprayers or similar - they are too coarse and spray far too much water which drown the paints.) Clean water in two separate containers is best when painting with acrylics. Half fill the containers so you can swish the brush about to clean it, and half-filled containers minimise spills and splashing. One container is used to do the initial brush wash and the second for the final brush clean. Change the water regularly, or whenever it starts to get polluted. Add a few drops of dishwashing liquid into your brush washing water as it helps clean your brushes more easily. Do not leave your brushes stand in the water wash containers as this can cause brushes to develop a memory bend, which can be difficult to remove and can ruin a good brush. Always paint in good light. Protect your eyes from straining, and good light also helps when assessing colour and tonal values. I find two matched lights placed on the left and right sides and forward of the easel and angled slightly down from above is best. Adjust light positions and angles to avoid light reflecting into your eyes off the painting surface. Sketch often to practice your craft and hone your observation skills. (Your ability to see beyond a glancing view) – the ‘Artist’s Eye’ is grown and developed this way.