"Use Your Isolator"

Dear Husband gave me a wonderful Christmas present after Middle Child was born.  His gift of "painting lessons" got me started on my artistic journey.  I'm using quotes around painting lessons, because in this type of class everyone chooses their own subject and the instructor walks around giving pointers - not step-by-step instruction with everyone painting the same thing. This particular teacher was fond of saying 2 things:  "Use your isolator" and "Add yellow ochre". My next instructor basically said to throw away both your isolator and yellow ochre. Various workshops later and I've got a whole slew of tips from instructors, some of which are conflicting. Some I've incorporated into what I do and others I have not.  You just have to find what works for you.

What is an isolator, you ask?  It is a tool to help you see very light and very dark colors.  I haven't used an isolator in years,  but with the basically black Yashica and white Shaylee, I thought it might come in handy.  

Back in class, my isolator was just a note card with 2 holes punched in it.  Around one hole, the card was colored with black sharpie.  You use the white hole when looking at very light or "white" colors and the black hole when looking at very dark or "black" colors.  When surrounded by white or black, you can more easily see the true colors in your subject.

I made a fancy isolator the other day which also includes a gray and creamy color using scrapbook paper (pictured below).  Wow!  That is high tech!  Don't laugh - it works.  Look at when I compare the white to the light tones in Shaylee.  Now you can see that the color is a little gray with a hint of pale peach.  

So, if you're only seeing black and white, you might want to try an isolator!

Portrait of Shaylee the English Setter

I've finished the portrait of Shaylee and here she is.  I think she looks wonderful and I hope Dear Husband's niece does, too!  From the last version, I shortened her nose just a bit and otherwise it was just fine-tuning details.  I think she looks much more regal in the pose I gave her versus the reference photo.

I'm finding that I really enjoy painting dogs (I guess cats too, but I've never painted one) and children.  Anyone got a dog or kid they want painted?

A Portrait for a Piccolo

Two summers ago, we went on a family vacation to New England.  Before going on our trip, we planned to buy a piccolo for The Oldest to play in marching band, but ran out of time -sadly, a common occurrence.  In this case it actually worked out for the better, because when visiting Dear Husband's family, his niece offered us her piccolo that she hadn't played in years.  Fabulous! She wouldn't let us pay her for it, so I planned to repay her with a portrait of her baby - an English Setter named Shaylee.

Fast forward a year and a half and I'm finally working on her portrait...  Here are a few steps along the way.  After painting the background, I stopped taking step-by-step pictures because the fur required me to jump all over the canvas (with my brush, not literally, Silly!) instead of painting in steps.  My two younger kids had the day off school today, so I didn't get as far as I would have liked - imagine that!  But I think Shaylee looks pretty good so far.  I didn't realize that Middle Child took a picture of me painting (believe it or not, that is actually my arm), but I liked it so I decided to include it.  So, here I am painting in my kitchen.  Don't you love the classy way I taped my reference photo to a piece of torn, ratty cardboard - nice!  It does help help with light coming through the back of my photo.

Hopefully I can get back to her on Sunday while my paint is still blendable.  I've got a good start but still lots of fine tuning to do and details to add.  She's going to be so beautiful - just like in real life!

Paint a portrait in a day?

The portrait of the dancer and violinist below took a few months and caused a minor crisis in our home.  My family endured numerous dinners of frozen pizza, a house in shambles, and clean clothing shortage.  I'm proud to say they managed to persevere through these first world problems and even rose to the occasion!  As I got closer to my deadline, summer break began and I was painting 10 or 12 hours a day.  "The Oldest" was so helpful, making lunches for her siblings and for me.  That way, I could just stop painting for 5 minutes to shovel the food in.  (Asking her to feed the lunch to me while I painted seemed a bit extreme.)  After months of "hardship", the painting was finally finished and everyone lived happily ever after.  That is, until I take on my next portrait!

For our nutritional health and mental well-being,  I decided to try a new technique to portrait painting.

I usually start by painting a full underpainting, complete with all the details.  As you can see below, it just looks like a sepia version of my finished product, even including the violinist's bracelet and the sequins on the dancer's dress.  Color is then added, transparent in some places and opaque in others. Finally, I touch on the little details again and I'm finished!

This time, I decided to entirely forgo the underpainting and use the same techniques that I showed in a prior post when painting a pear .  The reference photo of "Peanut" is from a recent family vacation to Colorado, which I cropped to just show her head and shoulders.  I thought this would make a good portrait, because the viewer is left to interpret her expression.  Is she thoughtful? sad? concerned? suspicious? In reality, I think she was just tired because we were hiking on the Boulder Flatirons.  

(Just a quick word of advice for those thinking of hiking the Flatirons - don't send all the snacks and water with the slow group that only plan to go halfway up!  Those hiking all the way to the top get very thirsty and hungry.  And I know from personal experience, because that's what the rest of the family texted me after "Peanut" and I sent them photos of us eating ice cream while waiting for them to finish their hike.)

Okay, back to painting...  Below is the reference photo with the first 3 steps:  1. The Basic Shape (top right), 2. Draw the Shadow Areas (bottom left) and 3. Paint the Shadow Areas (bottom right).  The canvas is rectangular, but it's cropped here to a square, so that's why she looks so high on the canvas.

Next, I moved on with 4. The Background (top left) and 5. The Light Areas (top right).  On a still life, I would now add the reflective light; however, I didn't really see any obvious reflected light so I decided to skip this step and moved on to 6. The Midrange (bottom left).  Next, I would add the cast shadow (like the shadow under her nose and lip), but I had already painted those in step 3 so I moved on.  The "highlights" would be next, but many highlights, such as in her eyes, couldn't be painted until after the details, so I combined the highlights step and the details step into 7. Details (bottom right).

Did I finish in a day?  Not quite.  I still need to do some work on her hand and a little bit of fine-tuning. Did we eat take-out?  Sorry to say that we did.  Did the house look like it had been ransacked? Most definitely!  But it was only for one day, so that's not too bad, right?