A Portrait in Progress, Continued

This is, of course, my favorite stage of a portrait commission. Don’t get me wrong- I thoroughly enjoy the sitting, getting to know my subject, creating a pose and setting that best captures my subject. This is a great challenge, as my mind is working full-steam ahead, for I am often working against the clock, especially if the portrait is outdoors, there are many decisions to be made, and oftentimes I get one shot to make it right. I’m exhausted at the end of a successful sitting, and am ready to veg in front of a good movie and pizza.

But painting is where the poetry happens, where the music really starts to play. To start with a blank canvas is no doubt daunting, but I don’t know of a more exhilarating experience than to make something beautiful out of nothing. Of course, God does this regularly (and majestically), but for me, it’s an incredible challenge. The possibilities are many, but there’s usually one best way to arrange all the aspects of a painting together, and I need to figure out what that is.

Well, let’s begin the adventure. Following is the Chuck Colson portrait in 9 steps, from color study to completion.

STEP 1: In addition to photographs, I produce a color study that is painted at the sitting location. It is a rapid-fire recording of the colors as I see them, for no camera can record the incredible range of color and values the human eye can see. This 11”x14” sketch is my concept of the portrait, my main reference in the studio.
STEP 2: After having determined the approximate size of the painting I cut a linen canvas larger than I need and tack it to a large support board. The generous cut gives me room to expand the size if need be. I sketch the major elements and shapes in charcoal, and once satisfied their placement and balance, begin laying in color in oil.
STEP 3: I continue laying in more color, referring to my color study and to photographs from the sitting. It’s important here to establish the value (shading from darks to lights) accurately. I paint vigorously, yet with much thought and care, as I don’t want to have to repaint areas due to carelessness. There will be adjustments in color and tone, but they should be minimal, not drastic, and not due to carelessness earlier in the painting. Stay focused, work smart.
STEP 4: I’m covering the whole canvas at this point, having set the value ranges well. I think in terms of one color or value against another, keeping the flow and balance of the entire painting in mind.
STEP 5: I continue to refine my color and add detail to the larger shapes. My father’s advice rings in my head: “Paint deliberately!”
STEP 6: I move steadily toward finish, refining shapes, making note of the finer details of my subject. I continue to develop the whole painting together, keeping colors vibrant (it’s easier to tame a wild horse than to bring a dead one back to life!).
STEP 7: I continue working the whole painting, comparing one note against another. Painting is like conversation in that there is a ebb and flow, listening and speaking. Sometimes it’s slow and careful, other times fast and energetic. It’s a thrill to revisit a painting of mine years later and be able to instantly revisit the “conversation” that took place while I created that portrait.
STEP 8: When I know I have all the elements settled in a painting, then I take four strips of paper and crop the portrait. After arriving at a pleasing final size, I stretch the canvas to its final size. Even then I will sometimes move the painting a tad one direction or another and restretch the portrait (even a ¼” can make all the difference). At this point I will present it to the client for final approval as well as order the frame. By the way, what’s wrong with the pathway?
STEP 9: Having achieved my concept for the painting and made final adjustments, I present the framed portrait to my client. However, in this case, I made a mistake which only a few people of hundreds at its unveiling noticed: the pathway in the background was missing (see previous steps). I had painted it out while reworking the background at the last hour and forgot to paint it back in! In spite of the “guess what’s wrong with this picture” event, it was another happy ending.

As you can see, a portrait entails a lot of decisions to arrive at a harmonious result. Painting a good painting- one that has a good sense of design and values, color, and composition- consists of one subjective decision after another, and requires a combination of talent, training, faith, and gut feelings. A portrait requires another aspect which is both pragmatic and subjective: the likeness, both physically and emotionally. Ask any mother, and she will tell you what her child is, and this may or may not coincide with what a photograph will portray of her child. No, I am painting not only what I see, but what others who know my subject feel of the person. Not an easy task at all, and certainly one that requires more than skill and talent.

I hope you’ve enjoyed this brief demonstration! For more information about commissioning a portrait of your own, please contact us.

Sincerely,
Tim

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