November 2008
Female Portrait One
by Allison Alexandra
To the Right, you will find the final portrait of "Rose Ann" holding a flower. Below, you may find an explanation of the step-by-step process of painting such a portrait.
Please click on the link to the right for an enlargement.
Portrait of "Rose Ann"
20" x 16", Acrylic
by Allison Alexandra
One. Initial Consultation
I arrived to find Rose Ann in a short-sleeved black shirt with jeans. This was a nice choice. Black is often an elegant color to wear for a portrait. It flattered her.
My intent was to capture the likeness of a person on a physical, emotional, and spiritual level. I had an idea that she might hold one of the flowers I brought.
She was very interested in this idea and showed me a cherished teenage photo of her smelling a flower. Her family mirrored this sentiment.
There was a sense of nostalgia in the air which seemed to affirm that this idea was appropriate. I also discovered that she feels like she is still 30 years old. It then seemed to fit to try to capture her sense of youthfulness.
Two. Sketch
Here is a light sketch with charcoal pencil of Rose Ann holding a flower. I took many reference shots with and without the carnation. This pose appears to be in between a Head and Shoulders and a Half Length portrait pose.
In this portrait, her hand became a key element. I thought that there was a nice interplay between her face, her hand, and the flower.
Hands and feet can be one of the most challenging tasks for the portrait painter. So it was important to arrive at an accurate compositional sketch before beginning the painting process.
Three. Background
I experimented initially with laying in a background which consisted of a blue-green mixture with a little sienna. A #18 Flat brush was appropriate for the small area behind the figure. I found that cools recede, while warm colors come forward.
I wanted a cooler color to create a contrast with her reddish brown hair color. I also considered that the cool background might resonate with the green stem of the carnation and a symbol of the outdoors.
Four. Beginning Layers
The first stage of the block-in of basic darks, lights, and transition colors. I used Flat and Filbert brushes approximately sizes 2-8 for this. Nothing is refined during this foundation stage.
I spent most of my time on the second layer developing the hair, hand, and arm. I experimented. Some experiments lead to new discoveries, and some lead to an affirmation that it was fine the way it was.
I also added some more Burnt Sienna and Naples yellow highlights to the hair to give it more dimension. I worked extensively on the hand and ring to make it more life-like and realistic.
Five. Third Layer
Here, I began to have a strong sense of this portrait becoming unified, as if a refreshing breeze was moving through the whole image. Another layer was applied.
You may notice that the features are becoming smoother and more defined. Through a series of light washes, the head was remodeled to clearly define the jaw, cheekbone, eyes, nose, mouth, chin, and neck.
The hair gained more highlights. The necklace was painted in and re-centered, hoping that it would come across better. The knuckles on the hand were clarified. There was an attempt to place subtle highlights on the black shirt.
Six-a. Refining Image
At this stage, I took steps to soften the hair and integrate it with the background. I darkened the darks and lightened the lights to create a solid sense of structure to the head and torso.
I tested out some backgrounds in Photoshop using a digital image of the portrait. It seemed that the light blue violet color flattered the subject the most. I re-painted the shadow against the wall and its soft edge.
I added some of those light blue highlights to the black shirt to capture the light shining on it. This adds more interest than if the shirt was a strict, flat black value alone. It seemed that there was a nice, subtle unity now between the background and foreground.
Six-b. Refining the Hand
The hand required much attention to bring it to a realistic equivalent to the quality of the face. I was pleased by the time I finished this hand. It had been in an unusual position and difficult to capture.
Here is a close-up of the hand. I re-painted the light and shadow to improve a sense of proportion of the fingers. Typically, fingers, toes, and ears have a little more red added to them because the blood supply to those areas is closer to the surface.
Seven. Finishing Touches
At this point, I showed the portrait to the subject. She and her family expressed much gratitude at how nicely it turned out. Then finishing touches were added. It is nice to step back and look at the portrait as a whole...
I lessened the value of the flower, so it would not compete with the face. The hair and arm were adjusted a little bit more. The shirt was modified.
Soft Body Acrylics is a very versatile and durable medium. I have paintings that I did over 20 years ago that look like they were painted yesterday.
However, it is still recommended by Liquitex to varnish all acrylic paintings. A few layers of non-toxic varnish were added. This is a good way to preserve the painting from dirt, dust, and deterioration. It also puts a nice sheen on it that may enhance it appearance.