A Portrait in Progress
A Portrait’s Journey from Start to Completion
The painting of the Chuck Colson portrait
Initial Preparation And Meeting
I believe what truly makes a portrait extraordinary is the relationship between the artist and his subject. Most artists can copy a likeness, whether it be from photos or live sittings, but just as an author writes best from his or her heart, the same is true for a portrait. If I know my subject, it affects every brushstroke I paint in the portrait.
That being said, I try to begin every commission by doing my homework prior to the first sitting. By talking over the phone with the subject about their expectations for the portrait, my procedure, the setting and attire, for instance, can help establish a direction and tone for the painting.
As with any successful portrait, Chuck Colson’s portrait began with a fresh cup of coffee and time to get acquainted. I knew more of Chuck than he knew of me from reading his books (he’s written twenty-three), but reading and meeting first-hand are two completely different things. Meet Chuck in person and you will quickly see the genuineness of his faith. He is gentle, kind, quick to listen and slow to speak, and a servant. I asked Chuck “If you could do anything, what would it be?” His answer: “Spending time one on one ministering to prisoners.”
The Sitting
The sittings were held on the campus of Prison Fellowship in Lansdowne, Virginia. Chuck was an ideal portrait subject. The initial session was relaxed, conversational, and I was able to capture him accurately.
Having already determined that I didn’t want to paint Chuck in the “dark suit, in a dark library, on a desk” typical of many contemporary portraits, I had surveyed the campus for a location that 1) offered an ideal, flattering light for the face, 2) provided a pleasing and complementary background, and 3) didn’t cause my subject to have to squint from brightness. Once I was happy with the location, I prepared for the next step, taking reference photographs.
I paint my portraits using a combination of studies painted on location from life and photographs that I have taken. It would be ideal to paint strictly from life, but most clients have a limited amount of time to offer. This method also affords me the opportunity to develop the composition in my studio more thoroughly. Because of having done my homework prior, my photo sessions are industrious and intense (for me, not the subject!), taking approximately one hour. My wife Kim is my very lovely assistant, giving attention to details in clothing, background, accessories, allowing me to focus on my sitter. I shoot approximately 150 photographs with a digital SLR camera, and love being able to view my results immediately, rather than waiting to see results as with film. I was slow to convert to digital, but the quality has finally matched up, even exceeding film. It’s in the quality of the lens!
11” x 14” Color Study
The next step is to paint a color study. This serves several purposes. The first is that it gives me an accurate rendition of true color of the location. No film or digital photograph can come close to seeing what a trained artist can see in terms of color! Secondly, the study provides a rough draft, so to speak, of the painting’s composition and layout. Thirdly, it gives the portrait subject and client a glimpse into the painting’s direction. Sometimes, however, I need to explain that this is simply a study, and not the final painting (some clients get a little worried at first!). I do this study in oil on a gessoed panel, usually either 8” x 10” to 16” x 20” size- small enough to paint quickly.
The Selection Process
After I have an informative and accurate color study, I review the photographs and focus on selecting a good face for the subject, one that reveals him as most know him, is relaxed and pleasant, and has pleasing lighting. I then select a pose that matches the face well in terms of the neck action, or, the turn of the body in relation to the head. Sometimes I will select the pose first, and if I don’t have an ideal face that matches, will take a few more pictures of the face. For the pose, I am looking for a pose that is relaxed, not contrived, and expresses the sitter’s natural inclination. This takes practice and patience. I teach my students to never lock in a pose until at least 10 minutes into the sitting, as we all sit “prim and proper” initially, but then for the sake of comfort ease into a more relaxed position, typical of our own individuality. This is the pose and posture I’m looking for in a good portrait.
By the way, this selection process is done promptly after the initial photo sitting. This is a great benefit afforded by shooting digital instead of film. I can present pose, face, and composition options almost immediately to the client. This saves time for both of us, and allows me to shoot additional pictures immediately, retaining the variables of the initial sitting. Instead of minor adjustments to the pose, face, or composition occurring over a period of days, they can now be addressed promptly and in a fraction of the time. Lastly, this convenience keeps the sitter and the artist (me) fresh, which is critical to any great work.
The final stage of the portrait journey is my favorite—the painting of the portrait! Click here to view a portrait in process.
My wife Kim and I with Chuck Colson at first sitting. Even after the sitting, Chuck is happy and wishes it didn’t have to end.
*For more information on Chuck Colson and Prison Fellowship Ministries, visit www.prisonfellowship.org.
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