Continuing Education: Portrait Painting

During the first class of Portrait Painting at the Ann Arbor Art Center, we were asked by teacher Tricia Hampo to introduce ourselves and share what brought us to the course. Back in the summer, while researching the courses offered during the Fall semester, I had surprised myself by making a little star next to Portrait Painting on my list of potential courses to follow. My initial intention in following courses was twofold: improving my own style as a landscape painter and meeting new people with similar interests in the area. When my heart skipped a beat upon seeing that the Portrait Painting course had a few spots left, I began to reflect on my reaction and where it might be coming from.

Back in high school and university, I painted a lot of portraits. I came to portraits by the straightforward path of class assignments. What I loved, and tried to do, was capture the expression of the person and what made them unique in my eyes. Much like landscape painting, I was looking for that “click” when the image became something powerful, enabling the viewer to connect emotionally with the work. Sometimes it’s a brushstroke, a highlight, or an essential and intuitive splash of colour in the right place. I love getting the curve of the nose or the hint of a smile just right. Here below are a few examples.

Cut to today and it has been about six years since I last attempted a portrait. My journey took me to landscapes and, until this Fall, that is what I have kept to. But this year abroad and the possibility to follow courses means I can experiment and expand. I decide to continue my education and go for the portrait class!

The first portrait I did in the course was a difficult one, but I am extremely happy with the results. The process looked like this: pencil sketches in black and white and colour, a watercolour sketch, and an acrylic painting. The reminder from the teacher, Tricia, to focus on value over colour was extremely helpful. I started with a black and white sketch of the portrait before introducing colour. Due to the instruction and working among others in a classroom setting, I became very intentional and slowed down my process.  

For my next project, I again started with a few sketchbook drawings in pencil. This allowed me to get familiar with the subject matter and, again, practice patience and practice value. Tricia suggested we work with a limited colour palette – in particular what is called the “Zorn Palette” after Swedish painter Anders Zorn. I used yellow ochre, cadmium red medium, titanium white, and payne’s grey. It is amazing how many colours can be made out of these base colours. While I didn’t exhaust all colour possibilities in this one portrait, the base colours and those I mixed from them fit exactly what I needed for this portrait of child and grandfather. Here are some images of my process and the final product.

While I am continuing to paint landscapes, it’s been great to get back into a subject that I had previously enjoyed and continue to grow and learn with other artists!

Thanks for reading!

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