I was anxious to get started with the first painting today. I mixed up the images so that the subject would be a surprise .
This photo was from my Renaissance collection. Starting off with a limited pallet I massed in the shapes, just breaking up the space.
This reminded me of my plein aire painting days when I would say things like, “this is the subject that you have before you, just do it”. I decided not to change anything , if I needed to later, I could. With so many color passages in a small space the importance of correct value was the most important, in order to keep things organized. Get the shapes, values, edges than color.
Using White, Cad Orange, Cad Red Light, Cad Red Dark and Cobalt Blue made me stick to a narrow range of hues. A green tone was needed at the top of the painting, I had to think “what’s the greenest mixture I can get?” The answer was Cobalt Blue and Cad Orange.
I like to throw a challenge out to myself when planning a painting, it wakes me out of the trance of doing things the same way all of the time.
I began this painting by using only the paint colors that I had to in order to paint the subject. Being very conservative about my choices was a good way of experimenting with color.
The most obvious thing I needed was a red, Cad Red Medium wouldn’t let me get the warmer orange reds, so I decided on Cad Red Light.
As I looked further I could see some rich cool reds would also help the painting so I went ahead and added Cad Red Medium (though later on in the painting I saw I could have done without it).
The darkest darks in the image where brown, so Burnt Umber made the list.
The warm light in the image made Naples Yellow my choice, which is one of my favorite colors because of it’s buttery light tone and it’s opacity.
I grabbed my tube of white as if almost by habit, than stopped myself, can I get by using Naples Yellow in place of white? The answer was yes,using Naples Yellow instead of white kept the warm glow in the image. The opaque quality lighten up the Umber, while keeping some warmth, burnt umber can get very grey when mixed with white. The pinks that were made with the reds and the naples yellow kept the color harmony in the painting.
This is the fourth and final post in a series on how I work with the Artist’s model in order to get great photo reference for my paintings.
Now I get to play movie director, I’ve got my props, costumes, actors (models) and I’m ready to build some scenes. I begin by picturing my model in her “costume”, what could she be doing?
Here’s one example; I had this slender young woman coming to my house to be photographed in a blue night gown . I start walking through my house, room by room, imagining what she could be doing in a blue nightgown.
Standing by the bed, changing the sheets, making them billow in the air-
Walking down the stairs, dragging sheets behind her-
Standing at the kitchen sink, washing dishes-
Standing with a cup of coffee and looking out my back door-
As ideas come, putting down some thumbnail sketches will help me to keep things organized. Of course there will be some good spontaneous scenes happening, but my head is like a squirrel on steroids when I’m actually taking the photos, so I don’t want to forget any good possibilities .
Taking advantage of natural light coming in a window is another consideration. I photographed this model in my dining room as the light streamed in the windows.
Putting something in the model’s hand, usually helps to relax them, notice the coffee cup, the flower above and the piece of fruit below.
Always be respectful of your models, remember, even if you are paying them, they are doing you a favor by lending their likeness to be photographed for your paintings. So I’m sure to;
Provide a private room for them to change in, hangers included –
Never push a model to wear something they don’t feel comfortable in –
Give them breaks, offer a cold drink and some time to rest-
Explain what I’m looking for, casual poses. Many people’s only experience with having pictures taken of them is smiling and look at the camera, so I tell them, picture a Sears photo portrait, that is exactly the opposite of what I’m looking for –
Provide your model with a CD of the photos you took or download them to a photo sharing site like Dropbox –
Pay your model in cash, and gratefully thank them –
This is the third post in a series on my experiences photographing people for artistic reference. Note: I’m not trying to sell or making any profit on anyone’s products that I suggest!
I have always used the simplest equipment to get the best results. For many years I used a Sony 7.2 M Cyber Shot digital camera.
When I started joining photo sessions to shoot models at photography studios I had to upgrade to a digital SLR camera. Participating meant you snapped a transmitter on your camera which would trip the studio lights every time you took a picture. So I upgraded to a Canon Digital Rebel XT. It’s an easy camera to use, I’ve been very happy with it. As time goes by, these cameras have new models with more pixels per inch, but for my purpose, getting a clear, sharp 5″ x 7″ print is all that’s needed.
The photo below was taken from a cliff hundreds of feet away from the subject with this lens.
The photo above, another beach shot from so far away, they never knew it! (notice the flip phone, this was taken awhile ago).
I caught this young woman in a rose garden in Portland, she never saw it coming!
This one taken from 50 feet away, I love this lens!
Another piece of equipment that I sometimes use is a Chromalux Light for indoor shots.
The only other thing that I use is a tripod for my camera.
When shooting picture indoors, it’s surprising how dark it is. Even with the Chromalux lamp, the camera shutter has to be open for a long time to get the light into the lens. When this happens it is virtually impossible to hold the camera steady enough, your pictures will end up looking like the one below-
That’s it! In the next post I’ll talk about setting the scene(s).
This is a part of a series on finding and photographing models for Artist’s reference. I’ve found like most things, the more I prepare, the more I’m going to get out of it.
This is truly my favorite part, maybe better than working on the painting, because at this point, I’m a genius, I can do anything, I’m going to really create something special! Searching for inspiration, the magazine section of any large book retailer like Barnes and Nobel is a Disneyland of visual stimulation. I can find photos of everything from Cooks to Cowboys. A publication I really like for ideas is Belle Armoire magazine.
Another source of inspiration can be catalogs. A favorite of mine is the catalog for Free People clothing.
Finding a direction
I limit my photo taking sessions to 1 and a half- 2 hours max, so a focus is important to get as much accomplished in that time as possible. In this 2 hour time frame I limit the clothing changes to three.
Keeping your model in mind, begin tearing pages out of your magazines and catalogs, tape them to a wall. Now reality kicks in… which looks could I create the essence of? I could definitely use the pony tail wrap, the funky sweater could be purchased at GoodWill , plus hot glue on some fabric scraps. The look on the right; some drapes from the thrift store or an old bed spread , some fake fur from Joann’s and a trusty hot glue gun.
Note: again I’m talking about the essence of the photo, not copying it. These props are for your photos, they can even be held together with double stick tape. It’s the clothes and props that set the mood. If you can sew , all the better. The outfit on the model below; a piece of fabric knotted and hot glued for the headband, sleeves cut off an old shirt for gloves, I made the dress from an old maxi skirt brought up and stitched to a tank top.
I always like to ask the model if she has something special or unusual to bring. The hair stylist in the previous post was a belly dancer too, who knew, she brought her entire costume! Another model, the young woman below had her own Victorian dress.
In the next post I’m going to talk about staging the photos, my camera and lighting.
This is part of several blog posts that share my experience over the years with finding, setting up and taking photos of people for my paintings. In this post I’m going to talk about the places I like to use to take these photos.
note; It would be nice to have live models to paint from, but most of the time it’s just not realistic. The cost of hiring someone for 4 or 5 days is cost prohibitive, and down right boring to many people. A good balance for me is to attend a life drawing session regularly. A good one here in Las Vegas is at the Summerlin Art Group. What I learn from life drawing can be infuse into the photo images.
Outdoors has always been a favorite of mine. And parks tops my outdoor list. Spring Mountain State Park is 30 minutes from Las Vegas, with trails, trees and historic buildings, it’s a great pick.
Many home developers have common area parks with stone bridges, water features etc. If there isn’t a gate, why not use the scenery in your own photos?
Local parks are another great choice. Sometimes this is a good alternative if your model doesn’t know you very well and would feel more comfortable meeting at a public place for your photo shoot.
There’s no place like home – in the next few days, walk around inside your home with an eye for painting scenarios. Think small, it only takes a corner of a room with the light streaming in to make some drama. Your couch looking a little tired?, throw a quilt on it for a different painterly effect? It might be surprising the special areas in your home that would lend themselves to scenes.
3. Your Backyard
We have desert landscaping, with some vines growing on the stucco walls. The photo below looks like a garden, but it’s just staged in a small pocket of greenery
3. Borrow a Backyard
That’s right you might have a friend or relative with a green thumb, they would probably be flattered that you wanted to use their yard in one of your paintings.
4. Your Model’s Home
The great thing about this is, being in their own home, your model is more likely to be relaxed, a relaxed model is a good model. You may discover things there that you never dreamed of putting in a painting before. The Model below had some fabulous tapestries in her home –
My next post we’ll talk about how I get myself and the model ready for a shoot-
The other day someone asked me how I find the models for my paintings and photograph them? Over the years I’ve found what works best for me and thought I would share this process in next several blog post.
Finding Models, the most extraordinary people can be found in the most ordinary places.
This young woman was the hair stylist where I use to get my hair cut…
In most cities, on-line you can find Meetup groups. Look for photography sessions that you can get in on. I joined a one night photo shoot, this was one of the models –
Places I’ve found “models” are, the gym, neighbors, the clerk at the grocery store, co-workers and family of co-workers. While at a Christmas get together for my husband John’s work, a fellow teacher introduced me to his daughter, which I knew would make a striking model.
How about yourself? I’ve posed for many of my paintings with the help of a timer and tripod.
Renaissance Fairs are one of my favorite place, I don’t need to ask, everyone expects to be photographed.
I’ve found some great and willing subjects at the a local horse riding stable, Cowboy Trail Rides.
It might seem kind of awkward at first, to ask someone to be your model, but many people are surprisingly willing. It’s easier if you already know the person and they have some knowledge of your artistic pursuits. But even on the spot, like the cowboy above, many people get a kick out of being photographed. Give it a try!
In the next post I’ll cover how I prepare them and choose a location-