subject: The Art Of Family Portrait Photography [print this page] The Art Of Family Portrait Photography The Art Of Family Portrait Photography
The local art center's gallery director is also a working lady artist. Majoring in art from the Indiana University of Pennsylvania, this Hempfield Township resident discovered her talents in High school and has been active at the local art club since 1970. The work that she does is often put up at the art center. According to her, she works in oils, pastels and silk screen printing.
When she was invited by another art club, she demonstrated landscape pastel painting from a photograph. According to her, beginners should not work exclusively from photographs. She says that the nuances of light and shadow should be felt by everyone starting up.
Working outside allows painters to absorb details, sketch the scene and click pictures, later on they can refer to them. That is how she would normally do it. She also draws composite landscapes using several photographs. This technique becomes very useful when the customer asks for elements that aren't present in just one photograph.
Photography is an art form on its own, but when using photographs as reference for paintings, you can adjust the painting if you see something in the photograph you don't like. You have to decide what to make the most important part of the painting. Deciding how a painting would look when completed can be decided by using a photograph, although she normally does not do that.
A pastel portrait is painted by her as she explains her technique, by using an enlarged photocopy of a photo that was clicked during the fall at Slippery Rock. To stop the frame from covering up any part of the painting, the drawing does not happen edge to edge. By painting on the wrong side of the pastel sheet that has low textures, she is able to use her technique of layering in colors.
To evoke dark logs and branches rising from water, she uses blues and reds. She would add bits of red which aren't visible on the photograph to enhance the sections on her painting that need emphasis. Special care is exercised by her in exploiting the fact that pastels are the closest an artist can get to using pure pigment.
She says that sometimes, you have to stop and think about your color values. You don't want to use too much light too soon. Lighter values can be layered over the darker ones in pastel painting and one does not need to worry about conserving white areas like in watercolors. You just need to feel your way around pastels.
A caution should be exercised when using the color ranges according to her. It is possible to get the right color without mixing many shades by using the number of colors available today. Pastels allow the artist to wipe the color off and start over again if they do not like the result. The medium is rather easy.
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