First Portrait of the Year

[Bryan Morgan]

This is the first in a series of portraits I'm creating for my new portfolio. Any input would be greatly appreciated.

[Bryan Morgan]

Here is a close-up of the face

[Karin Wells]

One of the major foundations of a good painting is the clear delineation between light and shadow. The way light falls on a form will define that form.

I think that although you have very detailed lights and shadows, you have failed to see the overall pattern of light as different from the shadowed side of the face.

Also, your reflected lights break up your shadow too much. Try using a pure color of a similar value to the shadow in order to keep the shadow intact.

[Bryan Morgan]

You are correct that there is no direct light source indicated in the portrait. The photo I used was very bland in that there was a subtle variance from light to dark. Normally when I paint, I divide my reference photo into divisions and paint whatever I see in that area. But I'm still learning and will take your advice to heart.

[Karin Wells]

I'd like to take a peek at your reference photo. Would you post a copy of it?

[Jeff Fuchs]

Bryan,

If you're painting portraits specifically as portfolio pieces, you have the opportunity to use only the best photos. There's no client urging you to use their old snapshot. Make the most of this opportunity to do your best work.

Do a search for posts on "value massing" to get a better idea of what Karin's talking about. It's a new concept to me. I learned about it here.

My only comment on the painting is that the hairline is too sharp. I haven't seen the photo, but I'd imagine there's a subtler transition between forehead and white hair.

[Bryan Morgan]

Jeff,
You are definetly right about using only the best photographs. In the past I used mainly photos that people had of girlfriends or relatives and asked that I used their picture. I found it really fustrating trying to paint from a 5x7 and the person's head was only about an inch. I have been more insistent about taking my own pictures and will probably try to develop a relationship with a local photographer (no pun intended). I also think you're right about the forehead.

Karin,
I will post the reference photo tommorrow, I have to bring it in to work so that I can scan it in.

[Bryan Morgan]

Karin,
Here is the photograph I used for a reference.

[Karin Wells]

When you have a reference photo, it is important to know how to "read" it. Photographs wrongly tend to clump values on the extreme ends of the value scale. Based on this photo, if you were to do an underpainting or a value study, it might look something like this.

But it does not matter if you use an underpainting or if you are painting directly with color, the values need to be defined thus:

First, you must clearly delineate the difference between light and shadow.

The halftone (where light and shadow meet) is very important in defining the form. The light may meet the shadow very quickly as in a hard edge or meet very slowly as on a gently rounded surface. The picture below does not really show a detailed halftone well.

No shadows on the light side of the face should be as dark as any shadow found on the dark side of the face - despite what you see in your reference photograph.

Also, no lights on the dark side of the face should be as light as any light found on the light side of the face - despite what you see in your reference photograph.

Your reflected light should not break up the pattern of the true shadow. Reflected light is a good excuse to add color to a shadow without altering the value in a redical way.

[Bryan Morgan]

Thanks for the information. This really lays it out in a way I can understand. I am a visual learner and when I can see an example of what someone is talking about it makes it easier to comprehend. I will apply your suggestions to future paintings.