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Defining a Person Using Light Shapes
by Wanda Kemper
Have you ever seen a person coming towards you that
you recognize more than a block away? You cannon distinguish their eye
color, their nose and lip shapes, or any other details of their features.
You recognize them because of their silhouette, their mannerisms, and
the large pattern of the light area on thie face. This light shape which
defines a person is the subject of the first part of this article.
I recommend a simple exercise to help you identify this
light shape. Project a slide of your subject’s head on a dark-toned
gray pastel paper. I find it best to make the head full size. Using
a single light flesh colored pastel or oil stick, start with the lightest
area and match the pattern you see in the light area on the face. Begin
with heavier pressure on your stick to create the lightest area while
gradually releasing pressure to move into the darker areas. As I have
done in picture "A", use this technique to allow your light
tones to trail off into darkness as it does on the face. Omit all detail
in the eyes, nose and mouth. Repeat this exercise until you understand
the subject’s light pattern and it is recorded in your memory.
Once you have mastered this technique, rendering your
subject’s likeness will become second nature. I might also note that
I have used this approach for arms, legs, and other areas of the subject
as well as the background. Picture "B" is the finished portrait
that I began as a simple study of light shapes.
In the next segment of this article are some hints,
which I have found useful
For blending oils in detailed areas, a small rake brush
with a filbert shape does not lift as much paint as a fan brush. Since
I have not found them available with a long handle. I add an old handle
with tape as an extension.
The molded fiber or plastic cases used by photographers
for transporting photos provides maximum protection for your portraits.
These cases come in several sizes and include heavy straps to assure
they remain securely closed. I have used them for years to ship portraits
and have never had an item damaged.
Squinting at your subject to eliminate details has long
been the norm. I find that viewing through my reading glasses serves
the same purpose without causing fatigue and irritation.
The need to view your portrait from a distance is always
a nuisance and can be a challenge in a small studio. I found in a quilting
shop a quilt viewer which when used is like looking through a telescope
backwards. It is the size of a small battery, and can be left on you
easel for easy access.
I hope that these hints will be of benefit to you.
I would also like to take this opportunity to thank
the ASOPA and many of its members who have been willing to share their
knowledge with me. When I had a desire to improve my portraiture, Dean
and JoAnn Paules welcomed me as a local artist into their studio. Their
encouragement and inspiration gave me the incentive to pursue my dream.
I then found a wealth of knowledge to be garnered in
the video and audio tapes and books provided by many association members.
Joining the ASOPA and attending seminars since 1996 has given me the
opportunity to meet and continue learning from many of you. After absorbing
the books and tapes of artists such as Daniel E. Greene, John Howard
Sanden, Richard Whitney, Bart Lindstrom and Robert Maniscalco, meeting
them in person showed them to be willing to continue to share their
knowledge and enthusiasm.
The ASOPA is available for all of us to grow as artists.
Participate to learn and to provide the opportunity for others to benefit
from our knowledge.
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Wanda Kemper lives and works in Portland, Oregon.
She has been a professional artist for 30 years and was the recipient
of the second place award in the 1997 ASOPA Portrait competition.
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