Got back from Surabaya (eastern part of Java, Indonesia) some hours ago. Painted an elderly aunt, one of my faves, in my hometown. But didn't take a picture of it. It bears a resemblance to her, though she commented the decidedly strong masculine features... *embarrassed*
There were friends around as I sketched, but left when I painted. Quite a distraction. Though I kept a running conversation with my aunt.
I noticed something peculiar about this piece. My aunt has leathery tanned skin, so the base color was brown. But when it was time to apply the highlights towards the end, brownish-white tinge didn't look right. Strangely, a more accurate tone turned out to be a purplish tone.
Two things to remember:
- Engaging the model and painting at the same time is a fine balance. Great, if a conversation with the model is not necessary to make them feel comfortable. If so, better to learn how to develop this skill without compromising on the quality of the piece.
- Always, always, always... step back from the painting. View it from a distance.
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A blog on my walk toward the joy of having charcoal and colours. Pure unbridled inspiration. In essence, freedom.
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4 comments:
Engaging the model and painting at the same time is a fine balance. Great, if a conversation with the model is not necessary to make them feel comfortable. If so, better to learn how to develop this skill without compromising on the quality of the piece
It's a skill photographers need to know as well, especially when shooting portraits.
BTW, there are some really nice pictures among the drawings you showed.
Thanks for your comment, Mell. Yes, we often forget the audience/subject may be feeling nervous infront of the camera, so we should remember to engage them in the process. = )
I like learning about art from you Steph. And photography from you, Melli. Thanks!
Thanks, Tom. I appreciate that. = )
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