26/11/15 & 03/12/15
Portrait: Ann – Two Sessions
Ann, our model, arrived wearing a fabulously coloured satin dress with a full skirt that draped beautifully. Ann was tiny in stature and opted to sit up very straight-backed. After mapping out the main shapes and composition as usual and beginning the under-painting, I considered the background. As the pose was fairly formal in appearance, and the chair was covered in a striped fabric in oranges, ochre and muted green, I was inspired to use a bright background to liven up the image. The dress was purple so using a loose mix of cadmium yellow and red gave a vibrant orange. I allowed the dilute colour to run and mix on the board and added some dark umber to balance the tones and brightness.
At the end of session one, I had the bare bones of the figure, composition and colours down. The likeness was starting to appear – I felt this was a good place to stop and be ready for the next week’s session.
In between the sessions, I propped up the painting in a position at home that I could review it away from the model. At this stage, the painting had been worked on quite evenly, however, looking at the face, I realised that the flesh and background were too similar in tone. Without actually painting, (always dangerous for me with the model), I rubbed back the colour around the face to make me remember I needed to address this area next time. I also noted the hands were a little oversized and that the legs needed adjustment. The skirt needed more variation of tone, particularly darkening the lower section. I really liked the fabric over the chair – it seemed to be good and solid and gave the impression of the chair beneath. I would have to ensure that this was not lost when the rest of the painting was worked up.
The whole painting needed to be given more solidity. The tones on the dress were modified and enhanced, this gave the legs more shape beneath the fabric. Highlights were added to the face and the neck was strengthened. This was important as it emphasised the straight posture and put some tension into the ligaments of the neck. The hands were resized and the feet were modified. The background around the face was brightened which helped draw the profile with more strength. Unfortunately, as often happens, the likeness evaded me with these alterations, the upper lip was particularly key to this. Ann’s lips were slim yet well-defined and from my viewpoint, was against the light from a window so difficult to see clearly. Moving around so that the profile was against a dark, I could see the shape but ran out of time to rectify it. My last stroke of the paint brush was to give a bright dash to the fabric on the chair. I am particularly pleased with the fabrics although the likeness is minimal.