Thoughts on preparing the palette

Some thoughts on preparing the palette.

Never skimp on the good stuff. Cheap materials make cheap artwork! I’ll give you a few some thoughts on preparing the palette.

Put enough paint on your palette without retrenchment. Especially the colours you will use often, such as white, yellow ocher, cadmium red and burnt sienna. I often see students adding medium hoping to obtain more amount of paint.  Always use the same order. The sequence you determine yourself, for example the darks left, white in the middle, and the lights on the right, or from dark to light with white left. Or the yellows and reds at the right and the blues and greens at the left side. It does not really matter as long as you always keep a fixed order. You must find your way blindly. (keep your kitchen organized!) Continue reading “Thoughts on preparing the palette”

Portrait painting and likeness?

Portrait painting and likeness, a challenge and a source of trouble.

A good portrait must fulfill the two basic requirements: perfect likeness and good artistic characteristics. It seems that sometimes the two are at odds. I know I was more prudent in my approach with commissioned portraits than non-commissioned artwork. The more I progressed during the years the more I was able to grasp at these things. But still sometimes it is difficult. Continue reading “Portrait painting and likeness?”

Portrait in watercolour

Karen. Watercolour portrait by Ben Lustenhouwer

A technique with many secrets.

Once in a while, I am asked why I don´t teach how to paint a portrait in watercolour.

Let me first start with a quote by Charles Reid in if famous book “Portrait painting in watercolor”

“For me, watercolor is a spontaneous and suggestive medium, and I find using it an exiting adventure. I´ve heard several “myths“ about painting with watercolor, and I disagree with them all. For example, I´ve heard it said that you can´t make any corrections or changes with this medium.”

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Commissioned portraits from photography

Commissioned portraits from photography.

To speak with Richard Schmid in his fantastic book “Alla Prima ll” and I repeat his words when it comes to commissioned portraits from photography.

Photos are often the only way we can have access to certain subjects.

Imagine: All my customers live throughout Europe. It is impossible to travel with my all painting stuff around my neck to the sitters home. Staying there for a couple of days and do the job there. Apart from the fact that clients certainly do not have the time to pose for several days. And then I’m not even talking about additional problems with portraying small children.

So there is no argument against portrait painting from photography. I say it once again loudly and clearly. And for the umpteenth time, of course, it is essential to study from observation. That is the basis of your artistic skills. But one does not exclude the other. Certainly not if it is about a commissioned portrait. The invention of photography is thus a blessing for us, portrait painters. I know this world from within and know what I’m talking about. Almost all of my colleagues use photographic reference, but many talk mysteriously about it.

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Portraits and landscapes show

portraits and landscapes Ben lustenhouwer framing my paintings

Once back, safe and sound from my portrait painting workshops in France, I started the preparations for my show “portraits and landscapes” here in the village, in August. The titel will be: “Portraits of Chelva”. Landscapes and Plain-air paintings of the Chelva surroundings. Also a number of portraits of local people, from our weekly live-model sessions in my studio. I brought some 40 paintings to the frame maker. Continue reading “Portraits and landscapes show”