A few weeks ago, a friend of a friend approached me about doing a painting for her from an old photograph that someone had recently found and sent to her. The photo was yellowed and not very clear, but the scene was obviously very meaningful to this person. She sent it to me first to see if it was possible. I pointed out that the lack of detail might be a problem, particularly in the face of the person in the photo, but I would do my best. I first played around with the various elements in the photo and sent her a few alternative compositions. After a few online conversations, I met with her in person to discuss the suggested compositions and to get an idea of where the painting would be hanging, to help to determine a suitable size and framing style. This turned out to be a very useful meeting, as I was able to learn more of the “back story” to the photo and why it was significant. I also learned more about the person, her life story, and what was important to her. From the information gathered, I made a few tonal sketches and sent her photos to mull over, as well as a price for the size she chose. Once she decided which layout she wanted, I was ready to start! This is always a stressful but exciting step. I may have confidence in my abilities, but the results don’t always match up with my expectations! Not to mention the client’s! I have not had a client refuse a commission yet, but I am sure it will happen some day! It’s impossible to know exactly what the client envisions, and I can only hope that I asked enough questions to make sure I don’t miss the mark! For example, the sky in the reference photo I am using is almost white. Judging from the lack of strong shadows, it was probably an overcast day, but it could also be due to the aging of the photo. When I am painting for myself, once the pencil drawing is complete, I usually start painting the sky, and I was about to paint it a middle shade of blue (i.e not a super sunny summer day sky, but not an overcast day either) when I thought that I really should ask the client what she preferred! As I couldn’t reach her right then, I started painting the face, which is probably a good idea anyway, because if I messed that up I would have to start over! As I was slowly building up the skin tones and shadows, I realized how much I like painting skin! There are so many colors in a face! A few years ago I would never have noticed them, but watching many videos of portrait artists working has literally opened my eyes! Blues and greens and pinks, not to mention purples and yellows! Plus this person’s skin is not the “standard fair” color I have mostly painted, so I get to experiment with different mixes! I have learned that patience is crucial when painting a face in watercolor. You have to go slowly, and although you can apply wet into wet for certain effects, you have to let the paper dry for others. But it is absolutely fascinating to see the features appear slowly on the paper, just by applying tiny quantities of mostly very light-colored water. In the right places of course! I like painting commissions. Yes, it is stressful, before you start, while you are painting, and once you are done. Will I be able to do this right? Will I have problems and not be able to finish on schedule? Most importantly, will they like it? But it is also very rewarding to know that you are doing something for someone who really wants it and will, you hope, appreciate it. Especially in this case, where I was able to converse with the client about the significance of this painting, I am using that information and putting it into every brushstroke. I am not done, and maybe I will change my mind if I run into problems, but I am very much enjoying painting this. I will surely let you know how it goes!
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AuthorMy name is Claire Bureau. Archives
March 2023
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