This is another sketch from The Wednesday evening portrait session. Every sketch made improves a painter's level of skill. Even the sketches that don't work help, if an aspiring painter is really trying. I'm satisfied with this one, but few people have seen the sketches of mine that I've tossed along the way. For more about drawing and painting sessions, go to "Labels" on the side bar and click on "sketching" or "drawing."
This post is from another visit to a painter's studio for a portrait session, this time at Casey Child's studio. I don't often break out the oil paints at these sessions, although I probably should. This time I did. The colors used were yellow ocher, cadmium red medium and ivory black, plus white. It was painted on a grey acrylic ground for pastels. The rough - even abrasive - surface of the pastel ground grips paint extremely well, but tends to eat brushes. For more about drawing and painting sessions, go to "Labels" on the side bar and click on "sketching" or "drawing."
Figurative painters sometimes open their live sessions to other painters who want to draw or paint from a live model, and who will contribute a few dollars to help pay for the model. These sessions are excellent opportunities for sharpening drawing and painting skills, and to rub shoulders with other painters. I look for and join in these studio sessions as often as I can. Last Wednesday was my first visit to Howard Lyon's studio for his weekly portrait session. The model that night wore her hair up in a unique braid. My drawing of her is shown above. For more about drawing sessions, go to "Labels" on the side bar and click on "sketching" or "drawing."
You'd think with all the portraits I've done in charcoal and pastel, and all the plein air landscapes I've painted in oil, that I'd have made more portraits with oil paints. Since I haven't, a few days ago I thought I'd do something about it and practice a little. Unfortunately the only model available to me that day was the guy pictured above. I've done his portrait before (you can see that here), but Idon't like the way he scowls at me. I never realize it until after I'm finished. Must be what staring into a mirror does to you.
This portrait was painted with three colors; cadmium yellow medium, cadmium red, and ivory black, plus titanium white. I thought I'd make it challenging by having two light sources, a warm and a cool light, and putting a shadow down one side of the face. It's not how I'd paint a conventional portrait, however I think it's important to push yourself and try new things once in a while. There's more that could be done to this painting, but like most portrait studies from life, I reach a point and decide I'm done even if the painting isn't.