Introduction

The term "portray" comes from the Latin words meaning to "draw forth": A good portrait is more than a superficial likeness; it should present the inner spirit as well as the outer aspect of the subject.

But how can one paint such qualities as the "spirit," "character," or "soul" of an individual? The same way as one might paint the wind: Although the molecules of air are invisible, their effects are not. The conceptual and emotional qualities that make a person that person are evidenced in numerous observable features, from how one dresses or carries one's self to the minutiae of one's facial expressions — human beings have more musculature in their face than in any other part of their body, which allows for communication far more subtle, although sometimes misunderstood, than in any language ever spoken (In drama, for example, the success of a script rests not only upon the words on the page and how they are delivered but also upon the visual expressiveness of the actors who "flesh out" the parts).

If possible, an artist should first become acquainted with the subject of a portrait in person or, at the very least, through the impressions conveyed by someone who knows the subject well.

The process of composing a portrait typically involves an exchange of ideas between the artist and the subject and a fair amount of experimentation, as to poses, lighting, and setting: Composition is typically the most creatively rewarding experience of portrait painting for all concerned (and a wonderful way to meet interesting people).

Reference Photography &

 Color Corrections

Eliminating the need for long, tedious sittings (which tend to produce stiff poses), I paint portraits from reference photographs, preferably those I compose and expose myself, on-site (using my portable lighting outfit, with diffusion screens): Most subjects are best portrayed within the environments — as well as in the clothing and any hairstyle and make-up — in which they are most at home, most at ease.

I prefer to use professional quality transparency film, for the most accurate color (I can make prints, for inspection by the client, with my computer scanner and printer). 

In order to ensure accuracy, it is best to include in at least some of the reference photos a standard color guide, for any major corrections; and for more subtle refinements, some shots should be of myself under the same lighting as the subject, so that I may refer to the tones of my own skin, hair, and eyes while correcting colors at home (using Adobe® Photoshop® digital imaging software, the professional standard).

Note that because the original reference photos are taken with daylight-balanced film under conditions of natural daylight, daylight-balanced flash, or floodlights with a daylight-balancing filter on the camera, I have installed gallery-quality daylight fluorescent lighting above my computer workspace, so as to make the best matches of paint to computer-image to original image, for each of the dozens of fleshtones and other colors in each portrait.

Sometimes, as for surprise gifts or in memory of special people or times, I refer to clear photos taken by clients (For helpful tips, see "Taking Great Pictures", on the Kodak® website) or, with permission, to photos taken by professional photographers (as located through the Professional Photographers of America).

Sample Compositions

I have assembled sample books of poses and compositions found in both traditional and modern portrait paintings, which can help inspire new works of art. There are examples of busts; subjects sitting, standing, and leaning; props; family groups; religious and military subjects; and equine portraits.

For other ideas, try browsing through the websites of the National Portrait Gallery® (Washington, DC), the National Portrait Gallery (London, UK), or Artcyclopedia (the search engine for famous artists, artworks, and art museums).

Digital Composition & Backgrounds

With my computer system, I can freely re-color, re-size, and re-locate subject and background elements from within one or more photographs to create an original composition for a portrait painting.

I have even painted subjects into scenic backgrounds inspired by some of the many photos I have taken, with permission, at The Arboretum of Los Angeles County, right here in Arcadia — which has supplied photogenic backgrounds for everything from the old "Tarzan" movies to "Fantasy Island" — and also at The Huntington Library, Art Collections, and Botanical Gardens, in nearby San Marino — whose Palm, Desert, Australian, Subtropical, Japanese, Camellia, Herb, and Rose Gardens provide exotic to traditional backdrops, intimate settings to sweeping vistas, into which I can paint subjects: Please see A Case Study In Composition, for a fascinating example of what can be done with a background to compliment the subject of a portrait.