From the Artist: I have drawn many self-portraits before, but I have never painted myself. In the future, I would like to paint myself realistically to see if I really could do it well or not.
I used a dry canvas that a family member gave me. She already had the "tile" marks on it. At first I was intending on covering her work, but instead I decided to use it as my background. I found a picture of myself laughing. I find it very interesting that using her background gives a feeling that I am singing in the shower. It's only such because it wasn't my intention.
As I continued to layer up my colors using a lot of water in my acrylics, I found I really like the results. I think, in many ways this type of approach is much more successful than if I would have used the "right" colors. I was able to let go from that part of the project and just explore. I know I can always cover my results if I feel the work is not worth keeping.
From the Painting Guide: Before I read your statement, I did wonder about the tiles, thinking it was certainly an unusual setting for a self-portrait. Having seen too many horror movies in my time, I admit I didn't see it as singing but rather screaming... I think the greens and blues in the face and dark eyes guided my interpretation that way. Of course, that's where giving a painting a title comes in as it influences a viewer's interpretation (particularly if they read it before they study the painting!).
Things to Consider When Looking at This Painting:
Composition: Putting the subject or focus of a painting so far to one side of a composition creates the risk of having the majority of the composition being "empty space". Look at how the lines of the tiles and continuation of color from the figure echoing its shape prevent this. There's a sense of a background that continues behind the figure, of the figure occupying the space in front of the tiles.
This unity between the two parts of the painting is crucial. A painting is easily ruined by a flat background that's doesn't relate to the subject or one that's painted around the subject.
Color: Look at the intriguing color created by building it up through layers rather than mixing it on a palette before applying it. Glazing like this really does create color that has a depth and mystery to it, that makes you look and study it. Whether you plan ahead exactly what you're going to glaze or do it spontaneously, is a question of personal working method.
I used a dry canvas that a family member gave me. She already had the "tile" marks on it. At first I was intending on covering her work, but instead I decided to use it as my background. I found a picture of myself laughing. I find it very interesting that using her background gives a feeling that I am singing in the shower. It's only such because it wasn't my intention.
As I continued to layer up my colors using a lot of water in my acrylics, I found I really like the results. I think, in many ways this type of approach is much more successful than if I would have used the "right" colors. I was able to let go from that part of the project and just explore. I know I can always cover my results if I feel the work is not worth keeping.
From the Painting Guide: Before I read your statement, I did wonder about the tiles, thinking it was certainly an unusual setting for a self-portrait. Having seen too many horror movies in my time, I admit I didn't see it as singing but rather screaming... I think the greens and blues in the face and dark eyes guided my interpretation that way. Of course, that's where giving a painting a title comes in as it influences a viewer's interpretation (particularly if they read it before they study the painting!).
Things to Consider When Looking at This Painting:
Composition: Putting the subject or focus of a painting so far to one side of a composition creates the risk of having the majority of the composition being "empty space". Look at how the lines of the tiles and continuation of color from the figure echoing its shape prevent this. There's a sense of a background that continues behind the figure, of the figure occupying the space in front of the tiles.
This unity between the two parts of the painting is crucial. A painting is easily ruined by a flat background that's doesn't relate to the subject or one that's painted around the subject.
Color: Look at the intriguing color created by building it up through layers rather than mixing it on a palette before applying it. Glazing like this really does create color that has a depth and mystery to it, that makes you look and study it. Whether you plan ahead exactly what you're going to glaze or do it spontaneously, is a question of personal working method.