What do we capture when we paint a portrait?

[Enzie Shahmiri]

Lon, you must be very talented to be able to draw so fast with so many distractions going on around you. Even if I had your speed, I could not concentrate on drawing, when hearing people's lives being dissected in a courtroom. How in the world do you keep your mind from wandering?

[Tammy Nielsen]

Thanks, Lon, for posting your 10 minute sketch. Very fresh, light and very appealing. It sets a mark for me.

The past two weekends I've been doing portraits at a festival and a horse show. True to what you said some friends came by to have portraits done and I then had a line waiting for pastel portraits. Does this mean we're like sheep?

Lon, can you post one of your court pastels or are they the property of the networks?

Thanks,
Tammy

[Lon Haverly]

The courtroom stuff is really awful, even though it is perhaps the most I get paid per minute (like $1,000 for fifteen minutes work). I will find some pictures and post, if it is not too off the subject. Is that OK, moderator?

Enzie, I actually like a bit of distraction. It refreshes my mind. I like conversation, and even complete interruptions. When I come back, I am a little refreshed. It is like turning away briefly gives you a little rest.

I can talk a bit about courtroom stuff when I post it.

[Lon Haverly]

Regarding speed, ya know, I don't really hurry. I just make each line count. I call it, "one shot drawing." Each line is final, and you just go through the procedure very methodically. And with the sanded lead, I can cover ten times the space in the same time as someone who uses a fine point.

I draw using what I call "line first" method (kind of my mantra). I focus on each line, and let the form take care of itself. If each line is correct, the drawing will be correct. Of course, I have a procedure which I stick to. It is the polar opposite of the methods taught in most classes I have heard about where you are told to not worry about the lines, just scribble your way to the end.

You learn what really is essential to a portrait when you work in this short time frame.

[Lon Haverly]

This was the case involving the school shooting in Springfield. This is Kip Kinkel. I had very little time to draw this. You have to grab the essense any way you can. I HURRIED!

[Lon Haverly]

One more. Usually you have to provide a panoramic view as well as the witnesses and the judge.

This was a case in Portland involving Planned Parenthood. Often you are quite far away from the witnesses, so you have to zoom in a bit when drawing them.

[Lon Haverly]

Most local courtroom artists try to use markers and watercolor. They wind up with small drawings and pale colors that do not show up well on TV. I prefer pastel, even though it is messy. I work large and get the job done. The networks often buy my work even though they have hired another artist of their own. That is when it gets fun - drawing for three or four networks at once! It is a rush - and it is a bit heady having your work broadcast all over the place.

You never know what to expect, where you are going to sit, or whether you will even have a usable view, especially if there are other artists competing for a spot. I never try too hard to get the best spot. We are usually seated before the attorneys enter, and we don't know where they will sit.

[Tammy Nielsen]

Thanks, Lon for posting the courtroom scenes. I see how you put down your line and the smudge in the color according to the light source.

Tammy

[Enzie Shahmiri]

Lon, what a fascinating job! Thank you for sharing it with us.

[Michele Rushworth]

Moderator here. I'm glad you posted these. Yes, I think they are fine for this thread.

I found the one of Kip Kinkel very emotionally evocative. That little boy who did such terrible things, surrounded by all those big lawyers and cops.