"Shauna Lily - Mona Lisa's Smile", A Portrait Finished - And the snapshots taken along the way.

Shauna Lily - Mona Lisa's Smile, 16" X 12"
Colored Pencil on  Ampersand Pastelboard

Well she's finally done, and submitted as this years 24th Annual CPSA International  (Colored Pencil Society of America) entry.  A portrait of my youngest granddaughter Shauna Lily.  The story of this portrait is tied to my CP art classes in a way and to the portrait of Cora, her older sister.



A few years back I taught a class to my students for recreating a master in colored pencil.  You can see that image below of "My Girl With A Pearl", my personal tribute to Vermeer's "Girl With A Pearl Earring" and my post of that painting here.

And of course when you do one grandchild's portrait you know your going to want to do all of them eventually.  As young Shauna watched me do Cora's piece she asked about which Old Master her portrait would be?  And with her coloring and the influence from my own mother's favorite painting we came up with a plan.  It had to be the Mona Lisa. And she liked that Mona Lisa and Shauna Lily kind of sounded the same.  While I didn't want to do her as I did Cora in the same clothing and setting, I did want the feeling of Mona's gaze and eyes that seem to follow you.  And of course the notorious smile had to be there.  Thus the title!

Next we had to take a photo as reference for her portrait and that meant a photo shoot!  Now what little girl doesn't want to model?  So we set up on a very rainy winter's morning to snap some pictures.  Below was the one I chose to work from.

Reference Photo

I always start a portrait with completing the background first so that the fine hairs which surround a person can be brought out and over the background.

Initial layers of pale skin tones defining the features.

                                 
I first lay in the pupil and iris, as adding them first help me decide the values of the skin tones better*.  The initial layers of pale skin tone colors are added to lightly define the features.  I continue adding layers of skin tone colors, varying degrees and going darker as I am contouring the features.

*Since my reference shot did not capture the warm colors that make Shauna's eyes so lovely I could not go dark enough until I had my son send me close up photos of her eyes in better lighting.  I find the eye color to be crucial in capturing a likeness as well as expression.   So I continued with the skin  a little before finishing the pupil and iris areas.



The photos below shows how I develop the skin tones further going into more detail as I go.  The shadowy right side of her face needed soft edges and working in that area one has to be cautious to not "dirty or make mud".

Excuse the iPad shadow here, oops.

Feeling like the skin tones are working well I need to get her dark hair in so I can see how the darker values in this portrait will influence the skin tones. 

  


 Completing the hair takes a while and I'm working in clumps and groups of strands as I go.   I ultimately wanted to keep the light blue highlights from the window light on her hair.  They look a bit white here but in the finished piece they are a bluish.

Now I'm happy with her skin and hair at this point but small tweaks and more softening of the right side of her face are going along as I begin her clothing.


At this point "knitting" her sweater has to happen and although I knit in real life I'm not sure I really want to do it in pencil.  But at the time this was a favorite dress for her so here goes.  I started to lay out the shadows and rumples in the sweater.

Purl stitches on the shoulder cap, stockinet stitches below.Knit 1 purl 2.  etc.  on and ooooonnnnnnnnnnnnnnnn! 

I wanted to get the garment finished because I knew that the pencil crumbles that always appear as you work (and especially on sanded board) would get onto her arm colors.  And speckles of teal/turquoise do not look good in skin!

As it was a few managed to get there anyway after I finished her arm.  !!$%&!!

Well there you have it she's finished! I hope you enjoyed a small example of the over 6 weeks this piece took.  I had shared the progress photos with Shauna and she was pleased.

Finished Piece "Shauna Lily - Mona Lisa's Smile"

   

Colored Pencil On Travertine Marble - Great new surfaces

                                        Celtic Greenman on Travertine Marble 10 X 10 Tile

This is a post that's been waiting to be written on a piece I accomplished at this years CPSA Convention in Brea, CA this summer.  Elliott Everson conducted this workshop, as a signature member of the CPSA, his work is very appropriate for this surface.  His website is here: www.elliotteverson.com/‎   Take a look at his work and subject matter, it really goes well onto the stone tile he works on and his location.  But since I'm not a fan of snakes, reptiles, and such, I choose to work from a reference of mine that reflected one of my passions.  Green men faces, I have them all around my yard and home, on a wall of my front porch and elsewhere in my garden.  I just love them.  This mythical figure the Green man symbolizes the life that is found in the natural plant world and on earth itself, and has many interesting stories and fables surrounding it.  Being a gardener I can't help to love the simple idea of the green man protecting my garden.  Their faces are as varied as the human faces in our lives.  

I had created this Celtic Greenman originally on a used violin for a fundraiser for the Richmond Symphony several years ago, called "String Art" (see below).  I primed with colorfix pastel primer on the front face of the badly beat up instrument and then applied my color pencil on top.  It was auctioned to raise funds for the symphony so I never had a chance to enjoy it at my home and secretly wanted one of my own.  

  

So it was this image of a stone carving from the Bamburg Cathedral I chose to use as my workshop adventure with travertine marble.  I highly recommend Everett's teaching method on stone, if you ever get to take a workshop from him.  And being an ole decorative painter working on new surfaces intrigues me.  

Working on unsealed, tumbled marble tile was an adventure indeed.  My normal method of working in 20-25 layers on paper or pastelboard wouldn't work here.  Yes, the roughness chews up your pencil a little, so that's similar to pastelboard or sanded paper.  But after a few 3-4 layers of wax based pencil (Prismacolors) you find the pencil sliding on the stone.  Now that would have bothered me but I had just finished working on double frosted mylar for my Jamestown Sea Captain. (See my Aug. entry titled:  Gloria J Callahan, CPSA - Colored Pencil Paintings: Jamestown Sea Captain and my busy summer.   Mylar or Acetate does not take many layers of wax based pencil either.  The one difference is that with the travertine marble can be spray with workable fixative to get a few more layers down. Which worked beautifully on the Celtic Greenman.  

Working with the rough surface was fun to incorporate the dips and crevices into the subject.  This gave me a whole new idea for a series of stone pieces to create.  More to come....... so watch for new work.  Oh, one more thing, you finish and protect your work by spraying with fixative then several light coats of acrylic sealant or varnish.  This of course would not allow you to use the tile for a trivet with hot surfaces as the varnish would be damaged and thus your work.  I'm happy to display it on a counter easel for the art work it is.  And now I have one for my very own.  

Recreating A Master - My Girl With A Pearl Earring

                                                 My Girl With A Pearl Earring 16 X 12
                                             Colored Pencil On Ampersand Pastelboard

This is a piece I worked on as an example of what can be done with colored pencil for my class of advancing CP students, Recreating A Master.  Of course most master works we think of are paintings so it was my goal to teach my students how to accomplish that painterly look with CP.  And as a tribute to Johannes Vermeer's, Girl With A Pearl Earring - I posed my granddaughter Cora in a head scarf and clothing similar to Vermeer's Girl.  By the way I had the pleasure last year of seeing this painting in real life at the Louvre Museum, in Paris.  And mine is almost the same size, except in inches not cm.  Below you will find the photo I worked from for capturing Cora.

I didn't have a blue scarf for her head, nor the right clothes but her Mom had a jacket that was of similar color to the original, See below, (I believe I can show the real image here since it's a master painting and his copyright has expired).  Johannes Vermeer painted this in 1655.

                                            Johannes Vermeer's Girl With A Pearl Earring

I chose to make the clothing more similar to Vermeer's and scarf color.  I chose to change the turban like yellow scarf into Cora's pony tail.  For several reasons, but mainly to make her be well, My Girl.  Cora loved posing for me and especially liked getting to wear the red lipstick.  My pearl earring was not as large as as the one in the master's but it seemed to fit.

Working on this was a love in many ways, it's my oldest granddaughter, it's my tribute to Vermeer's piece, (one I have always loved) and I enjoyed trying to get CP to look like a painting.  The jacket and scarf were very much an act to replicate what a brush originally did.  

Checking in after a long hiatus from the blog, teaching and traveling have kept me from posting but I promise to get you all caught up on what I have been up to as we set into the cold months.  My students will show some of their master works at my January Student Show at Crossroads Art Gallery and My Girl will be hanging there also.  Enjoy Thanksgiving Day Everyone!

Gloria

Jamestown Sea Captain and my busy summer.

                                                               Jamestown Sea Captain
                                                   Colored Pencil on Graphix Frosted Acetate
                                                                         17.25 X 11

Each year I find that summer seems to play tricks on a person, it sounds like a long season, "Those lazy hazy days of summer".  But in reality they are fffffffffaaaaaaaasttttttttttt!  Whizzing by at ultrasonic speeds, no time to catch your breath, enjoy, or even get art enough art finished.  Life as you can see has crept up on me and my summer plans.  The portrait above has been waiting to be called finished for many months now,  and for a variety of reasons.  This guy was a wonderful character we came upon on a trip to the Jamestown Settlement a couple years ago and he played the part well as he stood in charge of the ships upper deck.  So I knew I needed to capture his relaxed but confident nature.

I had worked on Graphix - Duralar (Brand name) before, in a long forgotten workshop given by Robert Guthrie at a CPSA convention, several years ago.  But it was Suzanne Vigil, a portrait artist in northern VA who inspired my completion of this portrait.  The double frosted surface (frosted on both sides of this graphic film) created smooth skin tones so easily.  But and I repeat but, your layers are limited to about 4 on each side of the surface.  Like any new surface it takes a little getting used to.  Lifting color is as easy as a vinyl eraser, used gently as to not make a slick area on the surface.  It is acid free and archival so it meets my requirements of a surface suitable for creating lasting art.  Click here for a link to  the Dick Blick   page to see more about the surface.

Working on both sides of the acetate was a little confusing, as when working on the under side you are working the mirror opposite of your image.  And while that might not be confusing on a floral or still life, on a portrait I found it tricky. (To keep facial proportions correct for a likeness.)  Until I realized I could flip my photo in Photoshop and work on it in reverse.  Unfortunately, it took me a while and some cursing to figure this out!!!  Transferring onto the surface is easy because you can see your image thru the surface and should be done with a slightly lighter than a mid-grey pencil, graphite works also.  All in all I may try this again for CP portraits but it requires matting and framing behind glass, which I'm trying to get away from.  But skin tones are so smooth and hair and beard stubble is fun to create.  So who knows.

Photographing the image was a challenge as it is shiny after the layers of pencil are added.  Thank you to my son Chris and his great photography skills in helping me to finally get a good image.

I will tell you, that working on this surface prepared me for the next new one I will be featuring in my next post later in the week.  So tune in for my update............. along with my CPSA convention notes.

Hope your catching up to your summer plans...........

Gloria