Breaking down the portrait process
 

I think of a portrait as a multi-tier process, each building on the other.

The first tier involves gathering info from the client during an initial meeting.

It includes:

Who is being painted, why and where will it hang?
Child for gift for grandparents - corporate portrait for boardroom - family portrait to hang in home - etc.

What is the client envisioning?
Formal or informal portrait, approximate size, etc.?

What is the personality of the subject being painted?
Quiet, shy, outgoing, domineering, bubbly, etc.

The next tier builds on the prior. The information gathered is going to be a major factor in the pose, lighting, clothing suggestions, etc. The lighting, pose etc. of a formal portrait of a child with a bubbly personality would be different then an informal portrait of a shy child.

Now I am ready to begin the portrait, and all of the above is going to play a role in what colors will be used in the portrait and other key elements of the painting process itself. I try not to look at a subject and think about color and value key until I am clear on all of the above info.

Throughout the painting I keep in mind the answers to the first set of questions so that additional choices along the way are made accordingly.

I'm sure all of the above is already done by most in this forum, but perhaps it may help a few to think in terms of breaking the thought process down into steps.

Mary Reilly

I've received an email asking that I expand on the above post, as it is too general. So here goes...

First, it probably is general in that the "building blocks" can apply to all portraits whether done from life or photo, and regardless of medium.

The category description asks how we conceptualize a portrait and consider lighting, pose etc. I guess in order for me to properly conceptualize a portrait I place an importance on knowing the subject (personality etc) and the client's expectations and plans for the portrait before any thoughts are given to how I might pose or light the subject or what clothing I might suggest be worn. I don't believe in just starting to paint or sketch without a preconceived idea of what I want to accomplish with the portrait, so I consider the most important thing is the knowledge gathered before hand. That knowledge helps me envision the mood and emotion that I want to hopefully bring into the portrait, then the additional decisions rest on that.

As an example, I did a color pencil portrait of a new mother with a 2-week-old baby. Because of some prior "history" in the mom's life, this was a very special baby to her. Also, the mom has a rather "laid back" personality, and their home is very casual and informal. I desired to capture the special intimacy between the mom and her newborn. All my decisions were based on that intimacy, and also the "informal" factor. So here was my approach.

First, I didn't have her "pose" as I wanted a natural look, so instead I just kept sketching as she went about her routine with the baby. As for lighting, I wanted to keep the values closer together. Brighter light or strong contrast would take away from the intimate mood that I sought. I had diffused light in the room and no strong shadows, and this seemed to add to the intimacy.

So I sketched her holding him and then smiling at him. Then I sketched her nursing him. I just kept sketching and everything seemed either static or contrived. Then she dosed off with the baby just laying on top of her and there it was, the mood that I was looking for. While the mom and baby took a "cat nap" together, I sketched to my hearts content. The result was casual, informal and intimate.

Mary

Breaking it down
 

Dear Mary,

Thank you for your beautiful post. I'll consider all your suggestions as I work on my new project. Is your drawing of the mother and child on your site? Your eloquent description of the process of finding the right pose has inspired me to work with Sally in a different way. Thank you.

Jean

Jean,

No, it is not on my site. I never took a photo of it. I don't take photos of all my work, as I don't always use my brain and think to take them.

I'm glad that I was able to be helpful to you. Be sure you let us know how your painting session goes.

Mary

Questions "Breaking Down The Portrait Process" Travel
 

This is a great topic which I believe could merit it's own section on SOG. Mary has already touched on great aspects of the thought process when conceptualizing and meeting with the client. I have a ton of question which will fit into this catagory but I'll try to keep one question per post.

My first questions have to do with travel to a client which is too far to drive. I've never had such a client and was wondering what might this trip entail.

What equipment and/or supplies would you bring:
a. If you were going to strictly use photos for the portrait?
b. If you were going also do a sketch of some sort?