Primary Colors

Clive Fullagar · 02-19-2005, 06:30 PM

Haven't posted something for a while. This is a portrait I have just completed of a friend's daughter. It is going to be a High School Graduation present. I have always wanted to paint a portrait that predominantly consists of the primary colors. The compositional challenge was to present these colors in a way that one did not dominate and none detracted from the portrait. The portrait is oil on canvas and measures 24" x 20."

My apologies for the quality of the digitial image - it really does not do justice to the original. One of thes days I am going to spoil myself and get a really good camera (any suggestions?).

Chris Saper · 02-19-2005, 07:00 PM

Clive,

Wonderful job!

Using primary colors in a painting is one of the most difficult things to pull off, and you have done so beautifully, keeping their relative saturations under control.

I very much like the whole design, and how you have been so judicious in both negative and positive shapes.

Clive Fullagar · 02-19-2005, 07:17 PM

Chris,

Thank you for the compliments. I think you really nailed it when you said that balance is in negative space. Initially the wall in this painting was very dominant. It was only after adding the shadow behind the figure that the balance started getting to where I wanted it to be. Too dark a shadow would have destroyed the composition, so toning down the shadow reduced the dominance of the yellow without upsetting the composition. That shadow becomes pivotal in the overall balance of the painting. Shadows often become the neglected spaces in paintings - but I love them. I far prefer painting shadows to highlights.

Thanks again.

Richard Monro · 02-19-2005, 07:58 PM

Clive,

Nicely done. That shadow behind the figure is a rela nice touch. It produces a diagonal that naturally draws the eye down to the figure. I might have dulled the intensity of orange in the sofa (behind and to the right of the figure) as it seems to want to pull my attention away from the sitter. Other than that it is a lovely piece of work.

Clive Fullagar · 02-19-2005, 08:33 PM

Richard,

You are right. I wonder though if it is the intensity of the orange or the definition of the floral pattern in that area of the chair? I will work on both and see if I can't "mute" that area. Thanks for your feedback.

Elizabeth Schott · 02-19-2005, 10:50 PM

Clive she is a beautiful young lady. You have courage! Did you find yourself changing your composition or color intensity as you went along?

Clive Fullagar · 02-19-2005, 11:51 PM

Beth,

She is a delightful young woman. It is funny though how people's perceptions of portraits are shaped by glamor photography (and in this case Senior graduation photographs). Initially she wanted a pose where she was smiling far more broadly than in this picture. I don't know about you, but I find smiles are the death knell of oil portraits. You never see them in classic portraits, and teeth have this uncanny ability to become the focus of a portrait. I have always felt that the eyes should be the soul of the picture. Anyway, I managed to persuade her (and her mother) that a more subtle smile provided a far more sophisticated image. Often, the broad smile becomes a facade that hides the sitter.

I did change the color intensity as I went along. I started with the blue sweater and had to intensify the yellow wall to balance the blue. That left the armchair, which had to be bold. One thing I did have to change, and which really is not picked up in the posted photo, is the reflected light in the face. I had to use some intense cadmium orange. If I had not done this I think that the facial features would have been completely washed out by the surroundings.

David Draime · 02-20-2005, 02:41 PM

Quote:

Originally Posted by Clive Fullagar

I don't know about you, but I find smiles are the death knell of oil portraits. You never see them in classic portraits, and teeth have this uncanny ability to become the focus of a portrait. I have always felt that the eyes should be the soul of the picture. Anyway, I managed to persuade her (and her mother) that a more subtle smile provided a far more sophisticated image. Often, the broad smile becomes a facade that hides the sitter.

Clive, I couldn't agree more. If it is handled properly, a subtle smile can work (da Vinci, Vermeer) But I feel as you do, I try to avoid it. I don't know what I'm going to do when I start getting commissions and the client wants a big sunny grin showing. I guess I could just not sign the painting....

AND you've done a great job with this one. Beautifully rendered, solid composition.

Terri Ficenec · 02-20-2005, 04:00 PM

Hi Clive--so nice to see you posting again! I've always enjoyed your work.

I like how you handled this, with the primary colors. Amazing how bright the color in her face, if you isolate it and just look at her face... but how well it fits in and appears right in the scheme of the overall picture. Neat!

Linda Brandon · 02-20-2005, 05:57 PM

I'm also happy to see you posting your work again, Clive. You have what I think is a distinctive "clean" modern style that is very attractive and appealing. I love yellow backgrounds generally and I like your choice here for this charming young lady. You've balanced the color so well.