A self portrait demonstration

Matt Sammekull · #1 09-20-2004, 07:16 PM

Hi.

It was a long time ago I last posted anything on this forum, but I thought this would make for a nice "come back".

This is a self portrait demonstration, showing not how I always work, but how I happened to work on this particular painting.

First off, I decided on my pose, sitting in front of the mirror for a while, trying out various postures, props and clothes. I made my decision and then drew my portrait in charcoal on wrapping paper, in the size of the actual painting. When I was as happy as can be with it I transferred it to my canvas, which measures 24x20" (60x50cm).
I rubbed away some of the charcoal on my canvas and fixed the rest with fixative. This marked the end of my first session which all in all took me an evening.

Second session
I now used Burnt Umber to re-draw/paint my portrait on the canvas (which was covered with a sand colored acrylic layer of paint). I established form already in this stage, using light and shadow.
I used turpentine to dilute my paint in this stage and rubbed in my paint with some force rather then just "glazing" my canvas. The darker I wanted my paint, the less turpentine I used.
I had to cut this session rather short, maybe two hours of work.

Third session
I continued to use nothing but Burnt Umber and turpentine to finish up the under painting. The paint from last nights session had dried up so I painted another layer over those areas I wanted really dark.The areas that look almost white in the image is really just the sand color of the ground.
For the entire under painting I used a large filbert brush, using it's edges for details. Where I wanted to remove paint I simply wiped it off with a dry cloth, or used my palette knife for removal off dry paint.

Fourth session
I used the following colors for the background:
- Yellow Ochre
- Burnt Sienna
- Burnt Umber
- Ivory black

Not much to say here really, but I did use a large brush, the same as I used the night before for the under painting, and very little medium which consisted of linseed oil and turpentine (2:1)
I also applied pure white, almost forcing it into the weave of my canvas where the lightest parts were located; the collar and sleeve, the lit side of the face and my hand. I couldn't stop myself from working some on my hand with a bit of the background color, just to establish some form.
I spent a couple of hours on this session.

Fifth session
This session was drapery time. I used English red, some Cadmium red light and background colors to paint the red fabric (a blanket) I had covered myself in. I noticed how difficult it was to paint the folds from life, as I kept on moving, standing up, sitting down, walking up and away from the easel, - so I asked my fiancé to sit for my as a "drapery model", something which she did. I used the same medium as for the background.
This was another short session, a few hours tops.

I had to take the photograph outdoors, which explains the presence of grass at the bottom.

To be continued... shortly...

//Matt

A Few Pigments · #2 09-20-2004, 07:30 PM

Is this all done in glazes?

Matt Sammekull · #3 09-20-2004, 07:40 PM

Bruce, - up to this point I guess you could say I used glazes... but not as in using very thin paint.

Sixth session
I now started working on my face, using:

- Flake white
- Cadmium Yellow light
- Yellow Ochre
- Cadmium Red light
- Burnt Sienna
- English red light
- Raw Umber, a green tone (Cyprus Umber)
- Burnt Umber

I applied the paint in short, definitive brush strokes, trying to remember a lesson taught to me by Leopoldo a long time ago, - not touching the paint once applied.
The shaded side of the face was left almost untouched, using my under painting as it was, with the exception of some reflective light applied and some yellow ochre to the cheek.
I also worked on the collar, using thinly applied Raw Umber and yellow ochre.

I actually started with the hand, using a different approach. I didn't like it... at all and decided to do the face first rather than repaint the hand.
This session, including the hand job, took me five hours.

Seventh session
Now I refined the face some, adjusting my right eye slightly, and re painted the hand (with the same colors as described above). I kept it more out of focus than the face so it wouldn't end up competing for the interest of the viewer (if there would be such!) For this reason, I also painted it slightly lower in value compared to the face.

In the image below the reds turned out a bit over saturated and there is some glare. I'll get a better image soon enough.

Eight session
Haven't had that yet! Tomorrow... then I'll tweak what needs tweaking, adjust what needs adjustments and most likely end up ruining it!

Materials

Colors are, from left to right:

- Flake White (Studio Products)
- Cadmium Yellow light (Beckers)
- Yellow Ochre (Beckers)
- Cadmium Red light (Old Holland)
- English Red light (Beckers)
- Burnt Sienna (Old Holland)
- Burnt Umber (Beckers)
- Cyprus Umber (Beckers)
- Ivory Black (Old Holland)

I'll get a final picture of the finished painting as soon as I can.

//matt

Trisha H · #4 09-20-2004, 07:42 PM

Hi Matt - good to see you!

Really enjoyed seing this, and looking forward to seeing more as it pogresses.

Trisha.

Jaysen · #5 09-20-2004, 08:40 PM

Very interesting and expertly executed. Since this is a demo, I'll keep my novice mouth shut!

I like how you're using a technique simular to what I've been trying. Why no dead layer? I was lead to believe that it's essential.

MonicaB · #6 09-20-2004, 08:50 PM

Wow! What a comeback! Thanks so much for sharing this incredible piece.

Titanium · #7 09-20-2004, 09:34 PM

A good strong face for a portrait.
Looking and enjoying.
Titanium

Rosic · #8 09-20-2004, 11:13 PM

So good to see you back Matt. I will watch this one closely... print it out when its done... and place it near my work area as inspiration and a reminder of how dear a friend you have been to me for the past couple years. I know the baby is due soon... How's Jenny doing? My daughter has a little over a week. Keep me posted and I'll do the same. Give Willie a hug for me.
Bern

DLGardner · #9 09-21-2004, 01:06 AM

Matt! So good to have you back! This is incredible! You may not have been posting, but you sure have been painting. I absolutely love the drama with the light in this, the richness, the color, the brush strokes. And you are a handsome man as well. Excellent and thanks so much for returning with this great WIP. Can't wait to see the final.

Dianne

palob · #10 09-21-2004, 02:36 AM

This I call comeback!!!

It is fantastic and I am glad you are back.

Pavol

Classical Vince · #11 09-21-2004, 03:41 AM

Matt, as always a great description of your process and an inspiration to watch you work. I have this very subject as my next color painting so I appreciate seeing this thread (nice to see ya 'round). Your work has changed a little over time, I see a looseness and confidence that reads like a signature. Strong.

I like the lighting and pose, very dignified and proud. So nice to see you arent holding brushes or a palette

I was going to work in overhead lighting for mine but now that I've seen this, I will be working in the lobby of our studio bldg. My instructor says the lighting very close to Rembrandts single source studio lighting, one skylight 20+ft from the floor and facing in the same skyward direction. Thanks for the inspiration. Gonna be following you on this one. You're kickin' ass!

dcorc · #12 09-21-2004, 04:05 AM

Welcome back, Matt!

Very "Old Master", both in its lighting, and in its handling. Splendid.

Dave

daniellat · #13 09-21-2004, 05:53 AM

THis is wonderful Matt. So glad to see you posting here again.

Daniella

Beancrusher · #14 09-21-2004, 07:04 AM

WOW Matt. Welcome back, and hopefully for a long tenure. Very old master like lighting and pallatte. This is great.

Matt, for some reason my eye wants to be drawn to the lightened area in the background. It might be too geometric, or it might just be me. Is it intentional?

Glad you're back!

Bruce

Matt Sammekull · #15 09-21-2004, 08:16 AM

Hi.

Thanks for your comments everyone.

Jaysen,

Quote:

I like how you're using a technique similar to what I've been trying. Why no dead layer? I was lead to believe that it's essential.

- Essential for what? I never used a so called dead layer, and if I did it was without me knowing it.

Bern, my good friend,

Quote:

So good to see you back Matt. I will watch this one closely... print it out when its done... and place it near my work area as inspiration and a reminder of how dear a friend you have been to me for the past couple years. I know the baby is due soon... How's Jenny doing? My daughter has a little over a week. Keep me posted and I'll do the same. Give Willie a hug for me.

Yes Sir, the baby is due in three weeks... but who knows when he/she decides to pop out?
Jenny's fine, biiig stomach and getting kind of tired of being pregnant. I can't say I blame her!
Only a week's time for your daughter? Are you excited? I hope all goes well, and give all my best to her.
Talk to you later amigo.

Vinnie,

Quote:

like the lighting and pose, very dignified and proud. So nice to see you aren't holding brushes or a palette I was going to work in overhead lighting for mine but now that I've seen this, I will be working in the lobby of our studio bldg. My instructor says the lighting very close to Rembrandt's single source studio lighting, one skylight 20+ft from the floor and facing in the same skyward direction. Thanks for the inspiration. Gonna be following you on this one. You're kickin' ass!

Isn't getting the right light tricky? Overhead light can cause quite a dramatic play between light and shadow in a face for sure.
As for Rembrandt, didn't he also use oil lamps which he had hanging down from his studio ceiling, creating a light suitable for the painting he was working at at the moment? In a way, this can help to create "impossible" lighting situations, but it works mighty fine in art!

(if done properly)
In this self portrait, reality told me that the light was just the same on my right arm as my right hand (duh!), but I wanted to keep the primary focus on my face and the secondary focus on my tool as an artist, my painting hand. The arm wasn't really necessary for my motif so I downplayed the light on the arm.

Looking forward to see your sp!

Dave,

Quote:

Welcome back, Matt

Or should I say Lord Vader? (whom by the way is the coolest villain in the entire cinematic history)
Thanks!!

Bruce,

Quote:

Matt, for some reason my eye wants to be drawn to the lightened area in the background. It might be too geometric, or it might just be me. Is it intentional?

It is only intentional when the outcome is positive, but in this case it was not intentional!

I actually don't see the problem when I look at my painting on the easel. It might be the camera messing things up, but I made the transitions in the background pretty smooth.

And thanks to everyone else!!!

Last night, I decided to add some zinc white to my collar and sleeve, but other than that nothing was added or re-done. It's finished. I know eagerly await the time when I can varnish it, in let's say four to six months.

The end result:

Close-up:

And even closer-up:

Thanks for watching! See you later.

//matt

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