When my sister Marcy offered to pose for me for my birthday, I had no idea it would take me 6 months, more than 2 dozen mostly awful drawings and painting attempts (pictures at bottom of post), and lots of study before I could produce a portrait that actually: a) looks human and b) resembles my sister (as I see her).
Although I have a long way to go before I feel competent at this, I am choosing to pause here briefly to honor and share my progress before I raise the bar again on my study of portraiture.
After my first try (above) and many more failed attempts (displayed at bottom of post) I realized I needed a better understanding of head anatomy. I accepted that I can’t fix a bad drawing with pretty paint. I studied my books and videos, tried to memorize proportions and divisions of the head (e.g. eyes are halfway between top of head and chin) and did some head drawing exercises (again…) that I still didn’t quite understand. And I continued failing at drawing and painting Marcy from the photo I took when she sat for me the first time, again from life on another visit and then from other photos.
I’ve done portraits I liked in the past, either by drawing freehand and then correcting again and again, or by enlarging a photo and tracing it onto canvas or paper. But I just couldn’t reliably draw one from life. So I read more books, watched online videos and investigated in-person and online classes. I found a comprehensive online academy last month that is giving me just what I wanted to learn. I think you can see how it is making a difference, starting with #18 below, drawn from life when Marcy posed for me again. In my next post I will review and share links to the learning resources I found.
You can see the progression, from the hilarious to the hideous to the almost-but-no, sorted with most recent first. Some are just bare starts; as soon as I could tell it was unsalvageable, I added the piece to the pile of fails and started over. The paintings are all oil, 12×9″ on Matte Dura-Lar except for the earliest ones on panels. The drawings are mostly on Vidalon Vellum except for the first few 14×11″ on paper.