Using a value-finder for self-portraits?

[Minh Thong]

As a beginner, I have been trying to be as methodical and as precise as possible when choosing hue, value, and chroma of colors in a portrait. So I am trying to learn how to properly use a value finder. I have a laminated two-inch wide strip made from store-bought paint chips in grey-scale values 1 thu 9. Each value section - which is roughly 2" x 2" - has a hole punched in the center through which the subject is compared to the chip.

Typically, I am standing in front of a mirror with my easel and a table on my right, and I use my left hand to hold the scale up to specific planes of my face (in the mirror) to judge a value. Then, I refer to the appropriate hue-row of my homemade Munsell/Reilly color charts to find the value of the plane I am working on, which gives me a starting point to work from. The the next plane/feature and so on.

However, I am having a hard time viewing the subject thru the hole in the value card. There are all kinds of distortions due to the mirror which makes it difficult to judge the value.

I realize that most professional portraitists probably no longer use a value scale, having developed the ability over time to judge these things with the eye. But for novices, is there a trick to this?

Also, when using a value scale for a portrait other than a self-portrait, do you walk right up to the subject and hold it close to his or her skin, or view it from a distance?

Thanks for the assistance,

Minh Thong

[Marvin Mattelson]

The range of values in nature far exceeds the range of values available in paint, so your basic premise is flawed. You need to establish certain givens (such as an accent value in the shadow) and then estimate up from there.

Once you establish certain values this way, you can compare other values in relationship to the first one.

For example if the skin shadow average is 3 values lighter than the accent and the flesh in the light is 4 values lighter still, you would ask yourself, "where is the background value in relationship to the skin in the light and in the shadow?"

The object is to ratio the values in the scene before you so that they can be painted within the range available between black and white pigment.

[Enzie Shahmiri]

Marvin,

I have a harder time judging values on a person over a photograph and stuggle with this just as Minh does. I ended up buying myself some glasses that have red tinted lenses. Besides looking very funky, it has helped to limit the value range.

Minh, if Marvin sees no harm in trying this, maybe you could give it a try and see if it helps you as well.

[Marvin Mattelson]

I wouldn't wear them when I drive my car. Seriously, I think people should do whatever works for them. The question is are they a quick fix or will they allow you to see values accurately without their aid, the ultimate goal.

[Timothy C. Tyler]

I think that the doing will take care of much of the thinking. If you jump in and paint everyday from life you will learn everyday. You will begin to read values (and colors) at will-it just happens. One can spend a lot of money and take planning and thinking and never painting.

It's not unlike reading about fishing or playing football. Once you've read all the good books and bought supplies you still must apply what you've read and there's the rub; "what dreams may come."

There's nothing like old fashioned experience.

[Tom Edgerton]

Minh,

In the beginning, maybe try hanging a neutral gray background cloth of a known value 5--smack in the middle value--behind the subject until you can evaluate more readily by eye. Or two cloths, maybe a 5 and a 7 to visually judge against. Trick is, they'll have to catch mostly the same light as your subject to read true.

[Minh Thong]

Thanks Mr. Edgerton, I'll run by Walmart this week with my handy-dandy value finder to purchase a few yards of grey material. I would assume there certain materials that should be avoided because they could change the sense of value. For example, I guess I wouldn't want satin or polyester due to the sheen, which could throw off the value. I'll try to find cotton cloth, which should be rather matte.

Mr. Mattelson - I think I would have a hard time properly deliniating the relative values if I'd never studied and practiced comparing values with the Rielly/Munsell nine-value scale. In teaching in the illustration department at SVA, do you teach this 'relative value' method to beginning students? Or are values introduced initially in a different manner?

Thanks everyone for the input.

Minh Thong

[Marvin Mattelson]

Although I still conduct one illustration class, it is in my life painting classes that I teach painting and portraiture. Perhaps you've already checked out some examples of my student's work? If not you can at: http://www.fineartportrait.com/works...s_gallery.html

I start my students out doing wash-ins (transparent monochromatic under paintings in raw umber). This addresses the two most critical factors in realistic painting, drawing and values. Color can be very off, but if these two factors are correct the painting will still read.

So from day one I am emphasizing values and specifically, estimating and comparing values (there is no other way).

If you really want to see all this in action, plus a much more effective flesh pallette than the one Reilly used, you should consider my workshop this June in Greensboro, close where you live. I think you could get a lot out of it.

I know time will fill, but so will my workshop. (sorry, I couldn't resist a little zen humor!) If you're interested, you can check out my online brochure at: http://www.fineartportrait.com/oil_p...rkshop_nc.html

[Minh Thong]

Hi Mr. Mattelson, I would dearly LOVE to attend the workshop. In fact, the lady who organized it very graciously remembered me being 'teacherless' and sent the info when it was still in the planning stages. However, thanks to the current IT/Internet meltdown I am not able to swing it financially. It's definitely my loss.

Would it be possible to rent a couple hours of your time one evening when you're here? I realize this may be a very odd request, but I thought there might be value in having a professional look over the last seven or eight portraits to see if one particular problem is sticking out among the myriad problems.

Thank you for the feedback.

Minh Thong

[Marvin Mattelson]

Minh,

Right now the schedule of events during my stay in NC are up in the air. Let's talk in early June and we'll see if we can work something out.