I got a rush job that could lead to bigger things (more on that later) so this weekend I have been doing an art house call, so to speak.
Geoff, the man in the pictures, is commissioning an oil portrait of his likeness (more on that later) and so I have taken about as much of my studio and lighting and video and audio equipment to his home 35 miles away, and set up in his living room to go through the process.
Geoff — knowing that it's a much shorter event for each of us if we just get together and get to know each other for a couple hours, maybe do some charcoal and then color sketches and then shoot reference photos for me to use in the studio — wanted the real deal, the old-fashioned sitting; an "I'm sitting for a portrait" experience. He's allowing me the privilege of videotaping over my shoulder while I draw and paint to eventually use for an instructional demo DVD (more on that later).
Due to several forms of upheaval and inconvenient transitions going on in my life (more on that later) as well as the currently diminutive size of my studio, we could not do the work at my location, and so we chose his.
It has been surprisingly rattling to my confidence to finally get set up in his home (about an hour and a half of set-up) and then draw in front of him. I'm not sure why. I scrapped the first drawing (not shown) and started over again. The drawing to the right is what I arrived at by the time my sketch was done and he had to leave for work. Before he got up from his seat, I shot a few reference photos, and, back in my studio this afternoon, studied my drawing and the photos and solved the problems related to why it wasn't looking enough like him. The sketch at the top of this post is the final charcoal under-drawing on an acrylic-toned canvas that will be covered in oil paint tomorrow.
More on that later.
I got a rush job that could lead to bigger things (more on that later) so this weekend I have been doing an art house call, so to speak.
Geoff, the man in the pictures, is commissioning an oil portrait of his likeness (more on that later) and so I have taken about as much of my studio and lighting and video and audio equipment to his home 35 miles away, and set up in his living room to go through the process.
Geoff — knowing that it's a much shorter event for each of us if we just get together and get to know each other for a couple hours, maybe do some charcoal and then color sketches and then shoot reference photos for me to use in the studio — wanted the real deal, the old-fashioned sitting; an "I'm sitting for a portrait" experience. He's allowing me the privilege of videotaping over my shoulder while I draw and paint to eventually use for an instructional demo DVD (more on that later).
Due to several forms of upheaval and inconvenient transitions going on in my life (more on that later) as well as the currently diminutive size of my studio, we could not do the work at my location, and so we chose his.
It has been surprisingly rattling to my confidence to finally get set up in his home (about an hour and a half of set-up) and then draw in front of him. I'm not sure why. I scrapped the first drawing (not shown) and started over again. The drawing to the right is what I arrived at by the time my sketch was done and he had to leave for work. Before he got up from his seat, I shot a few reference photos, and, back in my studio this afternoon, studied my drawing and the photos and solved the problems related to why it wasn't looking enough like him. The sketch at the top of this post is the final charcoal under-drawing on an acrylic-toned canvas that will be covered in oil paint tomorrow.
More on that later.
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