"Present"

"Present"
Oils on Panel
10" by 10"

About a month ago a favorite artist of mine, Kimberly Kelly Santini, post a challenge to paint from the same photo (taken by a friend of hers) as she had already painted from on her Facebook page. The dog's pose (Zevon) is both visually powerful and intriguing because of its ambiguity. I was curious to see how I could make the image my own. I went through my Pinterest portrait art board to remind myself of what in a portrait makes me want to explore it and delved into Stanka Kordic's website for inspiration in creating a mood or sense of atmosphere and then the painting commenced. After I completed it I had to wait about a month for it to be dry enough to get a good photo and got it in to the challenge right under the wire. It was an ideal way to play with ideas in paint. I greatly appreciate Kimberly Kelly Santini for sharing her inspiration. And I appreciate her Facebook followers kind comments! She says she plans on doing more art challenges and I look forward to them!

"Twinkling"

"Twinkling"
8" by 8"
Oils on Gessoed Panel

A Loving Reminder

I have found that painting a portrait of a person I love is invaluable. Not only because I end up with a keepsake and record of at least one way I see that person, maybe even a portfolio piece, but because it always reminds me not to get too attached to photo reference. When I know and love a person, I have seen them in almost every possible lighting and expression, I have that visual knowledge to draw upon. Using that knowledge of a face or person I know well shows me that no matter how good the photo reference, it can't give me that full understanding to work with. Painting a loved one is a reminder not to be complacent when creating a likeness.

Finding Personality

So, how does this apply to portraits of people I don't know, or at least not as well? You might assume that knowing the difference in the painting experience might be disheartening to me when I approach a more distant subject, but in fact it helps me remember that I am not copying a photograph, but capturing something indescribable in other ways through my art. One way I can do that is just by having more than one photograph to work from, so I can see different aspects of that person. If I have met the person in real life I can think of my impression of them and how the light changed their face. And, lastly, I can pick up on some detail of expression that the photograph shows me, but play it up or find my interpretation of a bit of who they are through that detail and unravel it in my work.

"Twinkling"

In case you are wondering, the photo above is a likeness of my beautiful Mom. The paint is still wet, as this painting is freshly completed today. I'll get a nice, clear straight on photo of this painting after it dries. For now, I hope you enjoy this glimpse into my process.


P.S. If you are interested in commissioning a portrait, pepper me with questions at ambergoulet@yahoo.com.

"Charlie Bear," A Portrait (Mixed Media play #2)

"Charlie Bear"
Mixed Media
9" by 12"

A Surprise

This is the second mixed media play project I started a couple of weeks ago. I didn't share it right away, as I decided that it worked out well enough to be a belated birthday gift, and, of course, the birthday girl got the first look. ;-)

Process

I found the layering of the colored pencil, india ink, and paint paints to be freeing. I'd like to try making an image like this again of a person or animal a bit more abstractly, but with the same varied surfaces, from implied textures, to somewhat flattened patterning, and soft colored pencil color transitions.

Detail: "Charlie Bear" 

Detail: "Charlie Bear" This is a nice point to show how the different mediums and implied textures came together.

Next

I have a couple of abstract mixed media test pieces to share with you all. I just pulled out the papers, pens, and acrylic paints and had at it. I was more pleased with the process when I started the second piece with collaging paper rather than swishes of paint. 

"Whole Piece #80"

"Whole Piece #80"
5" by 7"
Oils on Panel

Oh, this was a bundle of fun to paint! There is not much I want to say about this one because I'd rather have you just take it in. I am quite happy with the expressive brushwork emphasizing a sense of movement in this piece and with how I controlled the effect that afternoon light has on color yet kept it vibrant. The expression was quite fun to play with, as it is bold yet not obvious in meaning when focused on only the eyes.

P.S. To read more about this series visit the series profile on ArtPrize's website.

Whole Piece #26

"Whole Piece #26"
5" by 7"
Oils on Panel

Where a Painting Diverges from the Photo Reference

There can be a particular joy in painting someone or something you know well. In this case I painted this facial feature from a photo a very good friend generously submitted to the project. When I paint a subject I know, I am painting with so much knowledge, I have seen so many moods on that feature, sometimes I have seen it in afternoon light, others in morning light, or in the harsh glow of fluorescent lights, I have an understanding, a belief, an opinion that has built up under so many variables that it has complexity and I am bringing that to the painting. 

In any painting I am attempting to paint more than what is visually in front of me. Often the changes are made to convey mood, or to emphasize an aspect that was subtle in the subject. Here the photo was taken in very warm yellow lighting and that color shifted the mood of the photograph regardless of what the facial expression conveyed. I used my personal knowledge of the subject to come up with the color palette for this painting which is wholly different than the photo and simply took the shape and shadows of the nose from the photograph. I was most pleased with the final use of light purple to tie the color palette together.

Familiar Faces in Pieces

"Whole Piece #26"
Side View

In the context of the larger Whole Piece series seeing familiar features becomes a different experience. I recently laid out all the dry paintings together on a flat surface. I wanted to see if I was achieving the visual impact I had hoped for and if the careful juxtaposition of very different features could make the collection more meaningful. (I was pleased with the result, but the photo of it isn't up to snuff, so I'll have to share a better photo sometime soon.) 

Since the Whole Piece Series was inspired by facial aphasia (in which one cannot put a whole face together but only see it as disparate elements) and the common human experience of miscommunication, misreading, and over reading other's facial expressions I found that taking these individual features from people I know, even though I can picture their original context, can still lend an ambiguity to the mood or emotion they are displaying. That ambiguity that leads to thoughtfulness was what I was hoping to achieve. As these images come together as a group I hope you all will see it too. (Here is how to join in too.)

Currently

I have made some progress on the experimental piece of book art. In fact I became a bit obsessed with it the other evening, spending hours cutting out bits of text with a fine pen like exacto knife. It's curious progress will be posted soon. Whew, sleepiness loosens my jaw allowing a stream to poor out. Time for bed! Night.

"Whole Piece 11," Daily Painting # 46

"Whole Piece 11," Available (click here)
4" by 4"
Oils on Panel

If your interested in knowing more about this series visit here. Find out how you can get your facial feature painted here.

"Whole Piece 1," Daily Painting # 28

"Whole Piece," Available (click here)Oils on Panel8" by 8"

Face Blindness

Yesterday I listened to Strangers in the Mirror, Radiolab (a podcast and radio show from NPR) while painting and it led me to ponder painting something inspired by people with face blindness. This morning I woke up at "the crack of dawn" determined to take photo reference of my early rising Dad before he got too busy with his day. Then I went onto to the errands of the day and finally towards the end of the day I was able to paint! I've managed to finish it just under the wire.

The podcast featured Chuck Close and Oliver Sacks, two people that inspire me and two people who have face blindness. My impressions is that for them faces are disparate elements, an expressive eye, a twitching mouth, a scrunched nose all dart through their minds but can't be seen as a whole. I wanted to give a sense of how each feature can seem odd but engaging when we concentrate on it in isolation from the rest of the face. I may do more of these individual feature paintings overtime.

Progress

I should be able to post a more accurate photo tomorrow. I pushed the color in this painting more than came out in this late night photo. But I've made it with no gaps through the first eleven days of Leslie Saeta's 30 paintings in 30 days! I feel accomplished, though a bit tired. :P :) 

Sharpie (A Loved Dog on Velvet)

"Sharpie" Acrylics on Velvet 9" by 12"

Sharing Sharpie

Just yesterday this portrait found it's home. I think I could become a full time pet portrait artist if every reaction I got to a painting was as beautifully emotional as the moment Sharpie's friend and owner had to first seeing this painting. It was one of the happiest experiences I have ever had.

Painting on Velvet?

I swore I never would paint on velvet to the very person I painted this portrait for and several other people in the room at the time. (I'm talking this sort of painting on velvet.) I can be a fuddy duddy in that way. Kitschy items and campy movies usually provoke a quick revulsion in me. It is that instant response that is so sharply opinionated that I don't trust in myself or anyone. So, of course, the moment I said I never would paint on velvet the idea to paint this painting popped into my head. I was sure the result would be cheesy, but now the challenges of a new medium were tickling me.

The Technique

I did one small practice painting on velvet to get the feel for how paint would glide over this surface. I must say that is a slower technique. I have new respect for those kitschy paintings, they may be painful to look att in a sort of friendly amusing way, but they most likely took some patience to paint. For me though I'd much prefer to goosh on a pile of squishy oil paint than to slowly build up thinned paint on velvet. 

"And that's all folks... "

Painting Sharpie on velvet was an experience well worth having. So there.

Slightly Bemused Scrabble Player

Statue Portraits

I Surprised Myself

Lingering Contemplation

I used to hate drawing statues. That went along with my oblique feeling towards setting down lines to represent architecture. I want a subject with some life, so maybe he/she/it tilts their head to the right a bit oddly or has the most awkward stance, that is exactly what kept me absorbed.
Gut vs. Mind
I'm still not sure that I love to draw, paint, or otherwise represent statues or anything inanimate, but I am more and more drawn to them. Creating 2D art from a statue is more to me now than just drawing something static. There is something to be said for doing portraits of statues.
Plans
I'm sure more thoughts, and deeper insights about statues will be coming. Right now I don't trust my written thoughts on that subject to really get full ideas across. Of course, part of the point of visual art is to convey what can't entirely be said with the written word. :)

A Sneak Peak

Yes, that is silver leaf. This is just a detail close up. There will be a further update soon.

A Jaunty Portrait

Specifics
This is one of my Mom's characteristic expressions and I'm torn between describing it as effervescent and jaunty. :)

This is a very straightforward drawing without any of the distortion I've been playing with. I was thinking of using my final technique for the distortion and even the storytelling.

Technique
I found myself missing the soft waxy colored pencils when drawing this. I've never loved graphite for drawing. It smears, which means to me it is the art medium equivalent of a child that will not sit still!

I will of course be completely covering this drawing with other media.

Enjoy! :)