Painting Storey Rose. . .

I'm sure it comes as no surprise that an artist's family becomes instant fodder for their imagination and subsequent creations.  Since time immemorial faces have been put on canvas, wood, panel, rocks. . .anything that could be found.  A secret desire:  I've often wished the Lascaux Caves in France were chock-a-block with the faces of that time!  How illuminating would that be?  

I was just beginning to turn to oil and portraiture when my granddaughter, Storey Rose, was born.  Here's a sampling of my efforts to capture her through the ever changing years, from a baby face, through toddler, pre-school, kindergarten. . . 

Wet and Wild . 12 x 16 . o/c

Easter Gift . 16 x 12 . o/panel

  

Growing Up (Storey) . 20 x 16 . o/c

 

In Thought . oil/panel

Storey at Marco Island . 10 x 8 . o/panel

This year is different - I'm beginning to see the face of the young girl she will become and I have to say it's exciting but also bittersweet.  Her sweet innocence is at its peak, along with a healthy helping of that "matter-of-fact innate child-wisdom" that never ceases to make me drop my jaw or smile big. 

 

I started her latest portrait (Almost Six) just a few days ago.  It began with a rough charcoal vine sketch on a toned panel upon which I had lightly drawn a grid - I often use a grid because I strive for an extreme likeness in my portrait work and it helps, to a degree, in the initial stages.  I can measure with thumb and brush, but I find it slows me down too much.  I like to put in a couple of important markers then draw quickly - I often find my first inclination/stroke is best.  Everybody eventually finds what works for them. Here you can see how I've thrown on paint to quickly and simply get a base down - this is when you shouldn't give up!  Really.

 



 



So, now I can see where I'm going with all areas pretty much covered. . .my road map. 



She's beginning to emerge!

 

Tiny hearts on her sunglasses - of course!

 

 

I'm almost there. . .I'm leaving it alone for a day or so now while I work on other things - her hair needs to be completed, along with another re-painting of the background.  I'll go in and do some glazing to soften her jaw line with shadow, maybe put a little more "rosy" in her cheeks.  I made a couple of small changes late this evening after this last picture was taken. . .how we can look at things and not really "see" becomes so evident, and to really do a portrait justice I think it's incredibly important to take your time, re-visit, work in layers.  

 

Certainly "alla prima" portraits have their appeal, and there are those who achieve unbelievable, gorgeous results with direct painting, yet my process involves careful observation and time.  In truth it may be my way to try and bring a subtle emotion to the work.  Naturally, with Storey, the emotion is strong, but I find I carry emotion into all my portrait work.  The searching and constant gazing required cannot help but bring feelings into the mix and hopefully that will translate to the painting.  

It's all such a privilege. . .