Portrait 2: Research

When thinking about ideas for what I wanted to do for my second portrait, I began by looking up images of portrait paintings, as well as looking at some pictures of my own in search of some inspiration. I scrolled through and glanced at several portraits, and pulled out ones that really stood out to me. After gather and selecting my top choices I realized that the portraits that seemed to really catch my eye were the ones that were quite drawn into the face. The closer up the more attention I seemed to give it no matter the style. Both realistic or photorealistic paintings appealed to me along with those that took on a more impressionistic style. There were also differences in the use of color found throughout the pieces, some (the more realistic styles) incorporated very little or no color, while the whole foundation of the other pieces were based on color. I thought about the difference the styles and the incorporation and absence of color had on the pieces. I came up with color and free style being associated with or sending a more emotional message. In contrast, the pieces without color seemed to be less expressive of the portraits emotions. Color seemed to portray the portraits own emotions while the black and white seemed less concerned about the portraits emotions and more about evoking the viewer's emotions. I feel the gaze took a lead role then in the black and white paintings to do this.

The next step was then to figure out what it was that I wanted to say about myself. After looking through some more recent photos and thinking about things that are important to me, I realized that though possibly still being influenced from my summer traveling high caused from my trip to Ecuador and the Galapagos Islands, that traveling and exploring new cultures and places is something that I really value, treasure, and would like to foresee in my future. 

Ideas of elements to incorporate in my portrait to convey this importance of traveling and experiences:

As a young kid my mom would always give colorful thread to my sisters and I to make bracelets with. We would learn different knots from our cousins, friends and bracelet making books and used all sorts of different color variations. I think we actually enjoyed making them more than we liked wearing them cause we always seemed to have more bracelets and anklets than we could fit on our wrists. Over the years that phase would come and go as it pleased and just recently in the past year or two it showed up again. Not only did I remember many of the patterns of my past, but I also looked up and learned some new patterns. This began my collection of bracelets on my wrist. My collection grew when going abroad this summer. Ever since, bracelets seem to come and go on my wrist as old ones wear out and fall off and new ones get added from places I've been, gifts from people I know, and experiences I've had. Their representational role could be useful in my portrait. 

As I mentioned earlier, traveling is something that although I haven't done a great deal in my life so far, it is something I desire for in my future. So for my portrait I think the idea of keeping an eye on the future and looking out into the world, but not really focusing on one specific spot is something I want to include. I think the gaze of the eyes would have a big role in depicting this as well as the scale of the portrait. A large scale can make the portrait possible less associated with the past or present time and maybe gear it more towards a bigger idea of the future. Where the eyes are gazing I think is also important. Though I think they should be lookout from the canvas, I think there should be a distinction made between looking out and over, not at the viewer. 

Chuck Close, Frank, 1969- I saw this piece during
 a trip I took last year to the MIA Minneapolis
Institution of art. I remember looking at it for some
 time while I was there. Though the details drew me in
to want to look closer at it the massive size of the portrait
 pushed me away from the piece. This was one piece
 from the museum that definitely stuck with me
beyond just my visit there.

Francoise Nielly

Stephen Martyn Welch

Artist Unknown

Practice 3: Portraits

I was quite enthused to start portraits. The human face seems to be something challenging, having so many features and slight angles and lines created from the bone and muscle beneath. I was anxious to learn the relationships of the face and learn a foundation of how to begin this challenge. While watching the demo before starting our own portraits, I began thinking how intriguing it would be to be able to see the x-rays of paintings. Viewers only see the final product of a painting, but they do not see all the steps and stages it takes to reach that point. Many artist may prefer this, but I think it is so intriguing being able to follow a person's thoughts and signs of growth or understanding of something by following the process it took for them to reach a point. Anyway, after learning some basic principles of the face and given direction on how to begin we got started on our canvases.

The first day I was in a painting mood, and was just having fun applying the paint to my canvas. I experimented with colors and application to understand how they could work together to for flesh. I didn't get too caught up in accuracy of both color and form at this point (seen in stages 1-5), but rather I just was going through more of an experimentation period. 

After our first short critique, which was focused mainly on the colors that made up each of our complexion, I then went back and put real consideration and thought to what I was seeing and continued more in this manner. Though I missed photo documentation of many of the steps in this shift, I not only payed closer attention to the colors of my flesh but also the forms that were making up my face. A big chunk of the paintings progression was done on my third day of work, where I was able to get into a focused state of mind and let myself be enthralled in the piece, which is why many of the intermediate stages seem to be missing.

 

stage 1:drew main construction of face

stage 2: brought in color 

stage 3:filled in space between color

stage 4: blending and started giving attention
to some facial features

stage 5: began eyes

stage 6: skipping ahead quite a few stages,
after dealing with the color of complexion,
 along with other colors of facial features
 like lips, and also beginning to think about
 the background

stage 7: continued work on background

stage 8: blurred background

Portrait: Artist Unknown

David Walker

Love this! Color and line is used so freely. It feels fresh and in some ways cleansing. I feel this woman is just letting go of all stresses in life and just relaxing as wind blows through her hair.