Self-portrait with red scarf

I don't want to hog the critiquing time, so I thought I'd post this here. Anyone here can comment of course, any time, I wouldn't want to discourage it.

This is a self portrait from life, about 6 hours in 2 sessions. It was tougher than I expected since I chose a rather difficult pose and used natural light. It is 11 x 14.

Of course I hate pictures of myself, but this was good for me. There's my wimpy chin(s) and childlike nose (left in) and my freckles (left out). And my awful posture. But when I worked on this I found that it was an exercise in honesty, editing, and seeing through the "eyes of love" which I do for my other subjects, so why not me too?

This portrait was painted a couple weeks ago, after the workshop, after Chris Saper's book (a revelation), and after trying Daniel Greene's palette and then making a few modifications. I need to settle on a palette and think I'm about 75% satisfied.

As usual I have to make this small enough to be uploaded without bombing out, so a larger version (400 pixels) is here

[Richard Huante]

Hi Lisa,

This is very nice. I know this isn't the Critique section, but you might want to use some darker values throughout (eyes, hair shadows, etc.), for more contrast & depth. As it is now, the nostrils have the deepest values. Maybe you can persuade your model to do another sitting?

Your pose, lighting, and drawing skills are all great. If you decide to revise it, I'd love to see it.

Best wishes,

[Kimberly Dow]

Lisa,

I really like this!

Can you tell me how you did this? You sat where? The easel was in front of you off to the side, was the mirror up high? Your eyes are looking up. I have never done a self-portrait (well not one I'd admit to) and I would like to. I am curious how people set it up.

Hi Kim,

Okay, I have a tall narrow window about 4 feet away, so it gives pretty intense light. I turned toward my left shoulder to get that pose. The mirror was high, you're right. I have a 12" x 36" mirror, the kind you use on the back of a closet door, and I put it lengthwise on another easel, that I adjusted to be eye height or a little higher.

One benefit is that I don't hold my palette, I have a piece of 16 x 20 acrylite that I set on top of a mid value piece of cardboard, and that on top of a rolling taboret, so all I needed to do to maintain this pose was turn my head to the left and drop my right arm. That was the theory anyway - in reality, turning my head repeatedly left a lot of room for error and I spent lots of time readjusting my head so I would get the right cast shadow on my cheek. Next time I will try to minimize head turning. In all honesty, I think the looking up of the eyes is a subtle error due to that turning, but when I saw that was what I was getting for the gaze, I went with it and emphasized it. If it had a direct gaze, it would probably give me the creeps.

Here's a quickie sketch, 3 x 4 inches, fine point Sharpie on scrap paper

[Timothy C. Tyler]

I'd like to see a better photo of the work. This is very hard to read-the real work is much richer/darker? yes?

[Michael Georges]

It is interesting that you changed the eyes. As a consequence of doing a self-portrait in a mirror, for you to see yourself, you would have to look directly at the mirror. This is why, in most self portraits, the gaze is directly at the viewer.

[Kimberly Dow]

Thanks for the explaination Lisa, and the sketch. That would be hard for me, the turning back & forth. When I paint from life I do not move my head at all, just my eyes slightly. I set it up so I can see who I am painting and the canvas at the same time. I do not think I have done it any other way.

I have read artists here who walk back and forth, remembering what they have seen. That is not something I could do, at this time anyway. I can't even remember what I did 2 minutes ago, nevermind trying to remember where a line exactly goes.

How do others paint self-portraits? Anyone care to tell how they have done it I'd be interested to hear.

[Chris Saper]

Dear Lisa,

Very imaginative set-up! I think you have done a fine job, and I particularly like the loose fresh strokes on the skin in light.

The absence of some deep darks struck me as well, although I know that it can be very difficult to photograph the darks accurately. Areas you might want to look at include differentiating light and shadow on the hair, as it curves around into the shadow, and also the amount of red in the shadow side of the face. This makes me want to get out the mirror, too.

As finishing touches, you might want to nail down some edge variety, particularly isolating one sharpest edge.

Thanks to everyone for responding.

I missed a good opportunity to retake the photograph today when the sun was shining brightly. When I took this, the sky was bright but mostly overcast, and I think I lost a good deal of contrast. Richard's initial comments made me take another look and there are deeper darks than are apparent in this photo. Also there is some glare in the shadow area - I was using alizarin crimson+sap green in the darkest areas and it is a bit shiny. I'll give it another try as soon as I can.

Chris, that's an excellent suggestion about isolating one sharpest edge.

[Cynthia Daniel]

Lisa,

Is this more of what it looks like?