One to Another

December 20, 2009

Sequence ?

Filed under: --Tony & Margy, 1-Progress/Sessions — pendantportraits @ 4:24 pm

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September 3, 2009

090309 – Margy & Tony.

Filed under: --Tony & Margy, 1-Progress/Sessions — pendantportraits @ 8:03 pm

Margy posed at the same time and place as Tony (2:30 – 5:00 in an alcove at Alexander). Before I began each drawing, I turned the corresponding drawing of Tony face down on the window and placed a new sheet of the warm-colored Ingres pastel paper over it. I made small marks to indicate the height of the head, level of the eyes, and tilt to respond to in beginning Margy’s drawing.

Margy has posed for many portrait painters in the context of workshops. She said that Tony had never posed for anyone before. This project is about the relationship, about them rather than only him, and that probably made a difference. Margy thought that the one-on-one nature of the project was a factor, also.

July 12, 2009

070809 and 071109 Margy & Tony

Filed under: --Tony & Margy, 1-Progress/Sessions — pendantportraits @ 7:46 pm

During Tony’s first session on July 11, I made three pencil drawings on Fabriano Ingres pastel paper (below). The poses are classic: a profile view; a three-quarters view with light on the face plane; and a frontal view with light from the side. You can see the working situation in the photograph that Margy took (below, right).

Portrait_071109_Tony_c_resizedPortrait_071109_Tony_a1Portrait_071109_Tony_b_resizedIMG00004-20090711-1455

During Margy’s first session on July 8, I didn’t draw. We talked about other portraits, and looked at the catalog from the British Portrait Painting competition and Shearer West’s Portraiture, which I borrowed until my own copy arrived. I took some snapshots, a little bit of video, and most importantly, watched and studied Margy in the north studio light. When we get together again, I’ll make a companion set of drawings.

CharlesI X3

The practice of making a set of drawings from these perspectives is a well-established strategy to get a sense of the portrait subject in-the-round. For instance, here are portrait studies of Charles I that Van Dyck made to assist Bernini in creating the King’s bust. Created in 1635, the work is in the Royal Collection of Her Majesty Queen Elizabeth II.

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