Portrait and Figure Painters Society

The writer ows a basic misunderstanding of art and its market. How many of the public in Clovis or in America in fact, would want to hang a Rembrandt or a Rubens on their walls, let alone Jackson Pollock, even at a price they could afford, yet we all know these are great painters. The bidders did not like the paintings at the auctions nor it seems the frames. Provincials, artists and buyers, rarely understand the the Art of the big city and who is to say the big city taste is correct. Taste is taste and if the artist wants to SELL then he has to cater to his market or go to a different market if they will have him. If he caters to his market, the question then becomes is he an artist or merely an expensive manufacture of wallpaper. The artist does not know his market nor it seems art.

Ted de Clercq

Web site: ted-de-clercq.com
The artist does not know his market nor it seems art.
Ted de ClercqWeb si

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Save your old paint brushes and for smooth and even shading for charcoal, pastels, conti, etc.
Hint: when sharpening your dry materials, you may save the residue and put them in individual small containers with lid;

Plan to take your time in the selection process as this is an important event. If you're attracted to an artist's work, but don't see an example of the type of portrait you'd like, check with them because they may have what you're seeking, but just didn't happen to put it in their portfolio.

After reviewing the artists carefully and narrowing your search, contact the artist. Ask questions and request more information or samples if you feel this is necessary. Travel & Location
of Artist Each artist has their own policies and procedures. However, in many cases, the artist travels to your location and may stay anywhere from one to several days. Some prefer to stay in a hotel, but other times a client's guest room or house is used. Most artists travel nationally and even internationally for a client, but some prefer to operate only locally. Travel and accomodation fees are normally extra, but a few artists include them in their portrait fee. Price & Budget Most of our artists show at least a starting price, others have a full price schedule and a few have chosen to omit prices from their pages altogether.

When agreeing to a commission, it's a good idea to have a contract with the price, a description of the portrait and the terms in writing. A deposit from one-third to fifty-percent is normal and this is usually collected at the intial preparation or sitting. Some artists who are very booked will charge a retainer (perhaps 10%) to put you on their schedule, with the balance of the deposit due at the preparation appointment. What to Wear & the Setting

There are no hard and fast rules, however, avoid garish colors and loud prints. Neutral tones such as black, brown, white, cream, navy, burgundy and beige will not be tiring to the eye. However, that does not mean you can't wear yellow, pink or other colors — colors convey moods, so think about the mood you'd like. Also, choosing clothes with a classic style will insure that your portrait will not later look dated.

Consider your lifestyle and where the portrait will hang in making the choice of a formal or informal look. Though outdoor portraits are normally considered less formal, there are some that are actually quite formal. Conversely, an indoor portrait could be quite casual. It's a combination of factors, including the clothing, setting and character of the subject.

Strasburg clothes have long been very popular for children's portraits. You can check out some of their selections at their website."

Jeremiah by Michelangelo Buonarroti and one of his sketches in the Sistine Chapel, 1511.

I think the affinity that I have for art is definitely inborn. Art isn’t something I grew up with or was tutored in, so when I stumbled upon it on my own, something clicked. The natural ability to draw and paint is ingrained in some people, too. But not all of us are gifted with an innate artistic sense, and I don’t think talent cancels out the equally important willingness and desire to steep yourself in and truly perfect your craft.

Some artists have egos and some even have enough talent for them to believe their work is heaven-sent—a panacea that can change the world. Me? I’ve never felt more human than when I’m drawing or painting. That’s when I feel truly humble, as I fumble and grope for ways of capturing the life, atmosphere, movement, and excitement of the world around me in a drawing or painting. But don’t get me wrong—it is an impassioned struggle, a glorious goal worth reaching for.Whenever I pick up a pencil or brush, I think of Michelangelo. He was gifted beyond belief and is at the zenith of Western art, but his life wasn’t easy—it set the precedent for the kind of mental anguish and doubt that put truth to the term “tortured artist.” He constantly felt that his hands could never attain what he saw in his mind’s eye. No matter how much arrogance and umbrage he displayed in public, he was plagued by the same indecision and doubt that I feel when I’m really committed to a project but am not quite sure if it is going to come together the way I hope.

That’s why I make it a point of seeking out new inspiration and quality art instruction. Without either of these, you can’t hope to fully utilize the talent and skill you have. Draw with Confidence is a DVD built on David Kitler’s years of teaching nature and wildlife drawing. He delves into creating depth, value shifts, types, and positioning parts in relation to a whole with the same high level of insight and detail. Quick Studies in Oils is another good starting point if you aren’t sure how to bring together your creative abilities and technical skills. It’s an engaging DVD that can provoke new ideas and confidence with brushstrokes and paint manipulation, which are both key to making significant breakthroughs in your work.

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Now you can deepen the dramatic effect of your portraiture with the exciting DVD Courtney mentioned Monday on Artist Daily. Join virtuosic Ron Hicks for a full hour of step-by-step oil portraiture techniques and an in-depth demonstration. Follow along as he shows how to create an accurate portrait while keeping true to your artistic voice and vision.

Learn the essentials of portraiture from sketching to depicting the subtle features of your model. Skip the guesswork and see results in your own work with up-close shots and step-by-step guidance. Master the fine art of balance with insight on editing features, creating a variety in highlights, and more. Make every brushstroke matter, with Ron’s approach to keep from overworking your piece.
Create at your own pace: start and stop the lesson when it's convenient for you.
And more!

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Because it’s hardly ever really blue. Think of Turner’s skies or even Monet’s—they are multifaceted and carry the hum of several colors. As many of us transition from painting outdoors to inside the studio, we can sometimes make assumptions and take certain things for granted like the color of sky or water, perhaps because we may see our subjects primarily in photographs, or maybe because the weather or busy schedules give us a much more limited timeframe to go out and work in the landscape.

When it comes time for me to paint from an aerial perspective, I think of Georges Seurat’s paintings. This may be an extreme example, but for me his work demonstrates an awareness of the prevalence of color, especially in the sky. Thinking of his pointillist dots helps me remember that color is everywhere. In the spirit of this, I pulled together a few tips on painting the sky to help stave off the “blue syndrome.”

Build up the sky with various tones, and not just blue ones. Really look at the sky and see what colors are there. A rainy day can often have gray, green, and even yellow tinges to it. A sunset is often much darker than I usually paint it the first time, and can contain all kinds of deep reds, pinks, and purples.

Don’t paint the brightness of the sky alone—paint the shadows in it to give a sense of space and depth. The more moisture in the air, the more reflections—and, as a result, the more color—you will find. Even when the sky is clear there is a sense of depth perception to our field of vision. In every case, question how that occurs and try to accentuate it.

Clouds reflect the light in the sky. Even on a picture perfect day, when clouds look white and the sky looks blue, don’t reach for blue and white alone. They can make a painting look flat and clichéd. Experiment with the colors you perceive in reflections and the light to add depth and greater realism.

Adding texture to the painting surface can give an entirely different sense of atmosphere than you can get by manipulating paint color. Experiment with thick and thin strokes of paint and new mediums for surprising results.

The sky tends to lighten toward the horizon. Be mindful of this as you are painting because this alone can help create a more convincing landscape painting.

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I think photography has altered the way we judge the painted portrait. With the ability to capture a photographic likeness—from the details of a person’s features to the minute expressions on the face—came the idea that the more detail you can render, the better your portrait. When it comes to painting, however, this isn’t always the case. Unless an artist is aiming for hyperrealism, chasing a photograph’s appearance with paint can lead to artwork that feels strained and contrived.

Colorado artist Ron Hicks strikes a strong balance between truly seeing his subject and executing a painting that goes beyond the details. In his upcoming Artist Daily DVD, Mastering Oil Portrait Painting with Ron Hicks, the artist explains that the foundation of any portrait is created with four or five distinct shapes. This is because no two individual’s shapes, or the way the light falls on those shapes, are alike.

It’s a liberating idea, and gives us all a certain level of freedom to pursue portraiture in our own way. You can seek out those distinguishing shapes and then add your own “discovery,” of your subject, as Hicks calls it. It could be a mood or facial expression that catches your attention. Adding your response to a portrait’s shapes is what makes the work unique.

Hicks’ approach to portraiture strongly resonated with me, and I think it’ll inspire you, too. Stay tuned for more information about Ron's upcoming DVD on Artist Daily, and in the meantime there are brand new resources for all genres, approaches, and media in our online store. Enjoy!

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Excerpts - FROM: Courtney of the Artist Magazine "I have a confession to make: I've never glazed with oils. The process intimidates me a bit—creating luminosity and an inner glow on canvas is no easy feat—and I often lose steam after about the second layer. It takes so much time, and having to be so conscious of getting the layers thin sometimes trips me up. However, I've asked around and done some research and I've discovered that I'm not alone in my experience. Many painters don't glaze properly or consistently, and some use it just as a way to mask drawing mistakes.

Don't get me wrong; I love the slick, glossy surface that such artists as Tintoretto and Titian are known for. And when I've worked with glazes, there is something almost meditative about going over and over the surface with a brush, smoothing out every stroke so that it gleams. Then, of course, there are the colors. Maxfield Parrish is one of my favorite artists, mostly because his colors are so vibrant. He was an expert at glazing and produced surfaces that had the appearance of stained glass. Tube colors with intense Chroma still can't compare to the built-up jewel tones that come through when glazing. I think it's the waiting that stymies me the most. Pausing until each previous layer is absolutely dry means I'm painting less. This can be really frustrating when all I want to do is paint. But, whether it's easy or not, the effects of glazing are breathtaking. I love the tinted glow it enables painters to achieve. Sometimes my time or inclination don't allow for it, but there is something exciting about immersing myself in a technique just to see how it works and discover what I can learn from the process. I'm open to it, and I think that's enough for now.

Our latest issue of Highlights covers so many different processes that you might want to explore just for curiosity's sake. From dry brush techniques, to uncovering the similarities of oils and pastels, to painting alla prima—Highlights is an in-depth resource of both practical and artistic approaches from leading artists of the past and present. Courtney"

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Mildew / Mold Prevention Excerpts - FROM: Ted de Clercq of Naples, Artist and Teacher
"This is exactly what I suggest to do. i would also suggest to varnish the painting as soon as it is well dried. Mold loves linseed oil and it grows right into the paint. varnish will stop this from happening. Some people like to wait until six months for the painting to dry but isolation varnish or retouch varnish which can be used between the layers of a painting made of damar or copal. I dont use either but it confirms that a layer of varnish. once a painting is dry would not damage a painting. You may have to varnish it again after six months as the varnish may be absorbed by some areas of the painting and will look mat." Ted de Clercq"

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A Model’s Pose: It Needs to Come Naturally - Excerpts FROM: The Artist Magazine's Quang Ho "I'm a lounger by nature. Why stand when I can sit? Why sit when I can curl up on the nearest comfy couch? This has made my posture the bane of my grandmother's existence, but it has put me in good stead with artist-friends who need a model that doesn't stiffen up. Having attended demonstrations and been in classes where really good artists work with models, the quality that those artists almost always try to tease out from their sitters is an implicit ease; a natural, unposed quality that seems effortless yet is visually interesting.

From my experience, the best way of putting a model at ease is to just give them time. Anyone can freeze up like a statue for a few minutes, but giving models the opportunity to relax and get familiar with the artist they are working with and the environment they are in will usually help them to unwind. I was at a Quang Ho demo a few weeks ago, and his model was a little tense at the beginning of the class. But before he started painting, the artist gave a 30-minute lecture. By the end of his talk, the model had gotten comfortable, and when Quang turned to her, he announced to the class that he was ready. He didn't alter her position at all—she was sitting naturally in a way that was characteristic to her, which is what he'd wanted all along. Allowing models to incorporate clothing and jewelry that indicate their personal style can put them at ease while creating a unique visual treatment.

When you have your sketchbook and are out drawing or taking inspirational photos of places and people, think about the kinds of poses you are drawn to. Is the figure compact and curled up or loose-limbed? Supine or prone? Active or at rest? For me, I have always been drawn to more compressed poses that hide more than they reveal and that put more asymmetry into the human form. It's certainly not a classical treatment, but it's what my eye finds engaging.

I sometimes draw inspiration for model poses from magazines, but more often from other artwork, like the paintings featured in Portrait Highlights, which has many interesting examples of different kinds of portrait set-ups and figure positions that are useful for artists when it comes to working with a model in the studio. There's also a lot of discussion about how to create a composition that features the figure in a convincing way, and this comes straight from the artists themselves. Plus Drawing From the Manikin is a DVD that teaches you the principles that have surrounded figure drawing for hundreds of years. It allows you to see the range of motion, stances, and poses a body can create in an approachable way. Together, these resources give a sense of how the human figure can be featured in your artwork and create a rewarding and engaging way to learn. Quang"