Closeup of a head

Cynthia Daniel · 08-04-2002, 10:28 PM

The answer to Linda's question above regarding portrait vs. figurative work is at this thread: http://forum.portraitartist.com/show...&threadid=1127

Cynthia Daniel · 08-10-2002, 07:49 PM

Linda,

Follow the link in my post above. Bill did answer re portrait vs. figurative.

Chris Saper · 07-16-2002, 10:37 AM

Hi Bill,

What a spectacular image! This is a painting I would just devour, with every single plane beautifullly placed, and then left alone.

It is of particular interest to me to see how you preserve a very direct color harmony, and how, even in the collar, I can see the painterly nature of the surface. As I might have mentioned, I have only seen your work printed in magazines, etc., and there is just not enough resolution to see the brushwork. Ah, I would love to see your work in person.

Thanks for posting this inspiring image.

Chris Saper · 07-16-2002, 06:59 PM

Dear Bill,

If you wouldn't mind, would you address a few technical questions abut this portrait?

Having benefit of only seeeing the head, it looks (at least on my monitor) like you have used a very direct red-green color harmony; is this a decision you make before beginning? What guides you in this kind of decision?

I also enjoy the contrast in texture, where the shirt really does look like stucco wall, very poster-like and flat in comparison to the head. Would you talk a bit about the way you use white, (the suit seems to have the same textural quality)? How did you handle the texture in the background?

You know by now that we will want to see the entire painting (assuming this is a detail)!

Jim Riley · 07-31-2002, 10:50 AM

Bill,

Thanks for posting the head detail. It is excellent and I want to say also how much I enjoy your work.

Coincidentally, I will soon post a three-quarter portrait (when the photographer delivers) that featured the same head turn and lighting. For that reason, I have returned several times to see how you handled the shadow side of the face. Well done! I also might have cheated or exaggerated my subject's skin tones had I seen this painting prior. A good lesson for all.

Jim

Marta Prime · 07-16-2002, 06:25 PM

Thank you so much for posting this! I do love to see the brushstrokes - it's wonderful to see how it looks close up. My own methods have been more along the lines of using an underpainting and then doing layers. And yes, I do tend to "blend it to death." Looking at this makes me do some serious thinking.

I keep checking your website hoping you will "hook up" the last three Retrospective Galleries. Love to look at your paintings. I have much respect for the kind of talent you have, and look forward to seeing more.

William Whitaker · 07-16-2002, 01:36 AM

Most of us like to view figure paintings up close to see the paintwork. Here is my paintwork. This is a detail from a standard three-quarter length portrait. The head is slightly less than life size.

William Whitaker · 07-17-2002, 12:02 AM

Marta,

I think a lot of us like to see how things are done. I get as close as I can to paintings in museums, often upsetting the guards.

It

William Whitaker · 07-17-2002, 12:19 AM

Chris,

The actual painted head is a bit ruddier than usual, but then my subject plays a lot of tennis. If I

William Whitaker · 07-17-2002, 12:28 AM

Chris,

I get started and I don