On Painting Michael Kent Murphy's portrait

 Well, I think I am going to go back to something I did early on with this Blog. What's that ? I will document the stages of a formal portait. In this case , Auburn's architect around town  Michael Kent Murphy. He is probably one of the few Rennaissance men left around these here parts. Architect, Painter , Collector , Inventor , Persian Rug importer etc etc etc. He has been a big supporter of the Gallery and swings by often to check in and inspire me.

 Just to liven things up , I've decided to attack this 24 x 30 linen canvas with a Burnt Umber underpainting. I essentially am creating a brown value grisaille that will help me see the planes and establish the lines of his character and attitude. I mean , Michael has a lot of attitude. He normally wears his hair in a pony tail but he let it all hang out for this bad boy.

 So here we go. Any questions? Just add a comment and lets take off on this roller coaster!

 

 

 

 

 

 

 

  People often ask me the leading question. Do you prefer to paint from life or paint from a photograph? Frankly, it really does not matter to me anymore. I am not a portrait fundamentalist. I've painted some sitters that moved so much that I would have prefered a photograph. Other times the excitement and energy from a sitting can really add a dimension that the photograph can lack. But here is the kicker. I try to approach every painting as if the person was in the room. As you can see , by sketching the face with a brush you can achieve a spontaneity and force that communicates immediacy and directness. I like painters that have an academic APPROACH. But I just don't like it for me.

 Judy P asked....

Do you sometimes need a few photos of a person, in different angles, as a double check for likeness? Or if you know the person well, is a single photo enough? Thanks! 

 Great question. I take multiple camera shots . Also , I always try to get a SIDE VIEW if the person is not going to sit for me directly. With a side view , I can see the angles and character of the nose and chin and forehead. Often times, if you are just looking at a straight shot of the face , the transition where the nose juts out from the face can be hard to discern. I sometimes see students paint the nose as if it protrudes forward starting from the forehead and missing the indentation down between the eyes. I also , ALWAYS work from a black and white photo just for the values. This is key. It gives me a visual grisaille. If you love color like me, you can be so in love with a color so much that it can be out of key and value. Also , by having multiple shots of the sitter , you can gauge their personality in a fuller range. Its all about the personality and spirit.

I'm stopping here to day as I need to get ready to teach a group of teenagers. And thats another adventure that I need to Blog about. 

Bye for now. Check back often as I will be posting after each session.

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