Table Of ContentRobert Case in Maggie Valley
Pastel on Ampersand Pastelbord
20” × 16” (51cm × 41cm)
Painting Classic Portraits
GREAT FACES STEP BY STEP
Luana Luconi Winner
Cincinnati, Ohio
www.artistsnetwork.com
Contents
Painting Classic Portraits
Introduction
Materials and Grounds
References, Studies & Composition
Control the Viewer’s Order of Sight
Sketching Techniques and Collecting References
Values Control Form
Composing the Story
Making Tonal Studies
Quarter-Size Study: The Color Plan
Photography as Note-Taking
Digital Techniques in the Art Studio
Constructing the Head & Features
Think Like a Sculptor
The Eyes
Constructing the Eye, Front View
The Eye in Profile
Construct the Nose
The Nose in Profile
The Mouth
The Mouth
Ears
Four Ways to Proportion the Head
Sculpt With Paint
Understand What’s Underneath
Train Yourself With Sketching
Hair
Facial Hair
Eyebrows
Hands: An Extension of Expression
Female Hands at Different Ages
Men’s Hands
The Colors of People: Skin & Hair
Color Considerations
How to Use the Color Charts
Brunette
Blue Blood/Porcelain
Blonde
Hispanic/Latino
Black, Warm Tones
Black, Cool Tones
East Asian
Native American
Indian (Continental)
Design Decisions
Building the Portrait Within the Subject’s World
The Artist as Storyteller
Lighting the Subject
Clothing Sets Formal or Informal Tone
Accessories: Jewelry and Eyeglasses
Backgrounds and Props
Color: Subtle vs. Saturated
Edges: Spontaneous Sketch or Careful Rendering?
Demonstrations
Classical Singer in Oils
Gentleman Outdoors in Oils
Sisters in Pastel
Color Reference Chart for Pastel
GABBY
Oil
24” × 20” (61cm × 51cm)
ELIZABETH
Pastel on Ampersand Pastelbord—sand tone
20 × 16 (51cm × 41cm)
Silver medal, International Association of Pastel Societies
Introduction
Art should make us sense something, whether it’s sympathy, anger, satisfaction
or love. It should make us question or evoke a memory. Paintings and sculpture
should encourage us to react to more than the mere material from which they are
created. The portrait must depict a singular, particular life, one with heart and
soul and memories and feelings of its own. Can we paint that into a portrait?
Painting great faces never loses its intrigue or challenge because even with a
set, repetitive, mathematical pattern—two eyes, one nose, one mouth, two ears—
the slightest change of a line or movement in the shadow will create an entirely
different face. Think of it: There are seven billion people on the planet and no
two people look precisely alike. We have our work cut out for us.
While an artist finds an effective way to collect pertinent data required to tell
the sitter’s story, the preparatory sketches become key to linking the subject, her
history and the accoutrements of their life into one beautiful composition. The
portrait tells a story. Don’t ignore or rush this vital element when you have the
opportunity to get to know your subject.
Remember that during the initial sketch sitting, the subject is often fighting
nerves worrying about how to remain still, how he really looks to others and
how to remain comfortable and self-confident as this stranger stares and studies
him in detail.
The artist, in turn, is concerned about making the subject comfortable and less
self-conscious while collecting pertinent information. To paint the person, get
inside his persona to tell the truest story. Do this in the time allotted and with the
highest level of skill. Do not cut corners. Do the work.
Artists should always be reaching further, delving deeper, stretching wider as
they attempt to attain a new level of truth and wisdom.
Here are some thoughts before we proceed:
Decisions at the start affect the finish. At the beginning, the artist should
have a clear plan. There will be minor changes of the movement of a skirt,
the tilt of the flower in the vase or a touch of sunlight that has moved
slightly. This does mean that if the painting is planned as a seated person
with one hand on a dog, we do not, in the middle of production, take out the
dog, put in a desk, and move the hands and arms. We begin a new canvas
for the new image and design. It needs to always stay fresh and feel
spontaneous, not overworked.
There are no disclaimers displayed on paintings. No opportunity to
explain what it should have been, what it could have been. If you are the
type of person who should not be rushed, don’t set a deadline. A painting
that is rushed, or repeatedly changed or repaired, reveals all of that. The
viewer will see the struggle. Step away and make a plan. Do a drawing
again and again until you can really see the finished painting in your head
—then just lay it on the canvas.
You have looked at faces since the moment you were born. Now it is
time to look into faces and souls. Do not distract the viewer with unskilled
anatomy. We will simplify things into straightforward, uncomplicated,
geometric shapes. Nothing will be too intimidating to tackle.
We live in a world of amazing color, but people’s skin needs to be
painted true to their ethnicity or blend of ethnicities. The color charts
will give you the confidence to dive right into the painting, but remember,
no one chart is going to be perfect for anyone. Take the theory, the color
family and the process, and adapt it to suit your particular model’s needs.
We will learn together how to tell stories in our images. How can you
succinctly tell the viewer two hundred years from now who this person was
and what he felt? You are recording his history. Make it count.
Does the final painting match your perception of perfect? No? Move
on! There is always more blank canvas out there just waiting for you. You
will hear repeatedly, “You will only be as good as the miles of canvas you
have covered.” So let’s get started!
Description:Easy techniques for true-to-life portraits!If you think all portrait-painting books are the same, think again. This book will inspire you to approach your canvas with renewed (or newly discovered) enthusiasm and confidence. Using modern-day techniques, Luana Luconi Winner shows you how to capture no
