Self Portrait
"Autonomy"Size: 91x91cm
|
Process
Brainstorming |
Planning |
1. Write down potential ideas, facial expressions, artistic inspirations and colors you can incorporate into your piece.
Photograph Subject3. Take a photo of the subject you will be painting. Place the subject in front of a white wall; if you are the subject, position your camera on a tripod and use a self timer. The subject should look as they normally do; avoid shots that are unnatural. The goal is to capture the subject as they are, not what they want to be. Once the shot is taken, crop the photo and increase the sharpness of the photo.
Canvas Preparation5. Using either a 1.5 inch (38.1 mm) or 2 inch (50.8 mm) brush, apply an even coat of white gesso to the canvas. Apply the gesso in one direction to ensure a smooth painting surface. Once the gesso has dried, apply three separate washes (Red, Orange, Yellow) to the canvas. The three hues should divide the canvas into three roughly equal sections vertically. Mix the acryllic paint with copious amounts of water before applying the wash with a 3/4 inch flat brush.
|
2. Create two to three planning sketches. Incorporate concepts from your brainstorming.
Stretch Canvas4. Connect four three foot stretchers and staple them at the corners. Make sure that the frame has four right angles. From there, cut an appropriate length of canvas and staple it to the frame. Start by applying pressure to one side of the canvas; pull it toward the stretcher nearest you and staple it to the frame. Pull the canvas toward the opposite stretcher and staple it to the frame as well. Repeat the process for the remaining canvas. Ensure that the canvas is tight but has enough slack so that you can easily press into the canvas with your finger. For each corner, form two "ears" with the excess canvas and fold one over the other then staple it down to the stretchers. Once completed, remove all excess canvas with scissors.
|
Transferring Image6. Project your image onto the canvas and create an outline of the subject by tracing the projection with a pencil. Be sure to trace highlights and shadows.
|
|
Painting
7. Start by mixing violet and black and use a 3/4 inch flat brush to outline the face and hair. Then, mix a skin tone with burnt umber, yellow, and white. Apply a coat of the skin tone to the face. Vary the intensity of the skin tone by applying more to certain areas and watering down the paint in other areas. Refer to the photo of the subject to see where the shadows and highlights are. Next, apply a wash to the lips with a size 8 flat brush; I mixed primary red with titanium white and watered it down. Using a 3/4 inch flat brush, apply a light green wash to the eyebrows and a dark blue wash to the mustache. With the same brush, start adding paint to the beard area with quick strokes downward. With a size four flat brush, paint the eyes blue-green, define the nose, and add hair underneath the bottom lip with small quick diagonal strokes with a dry brush and opaque paint.
8. Using a size 8 brush, further define the eyes and lips. Clean the brush, then add texture to the facial hair with quick flicking strokes. For both the mustache and eyebrows, use darker shades of the hue of their respective washes. Fill in the eyes and add shadows around the eyelids with a size four flat brush. Finally, with a 3/4 inch flat brush, start adding more colors to the beard using the same quick strokes.
9. At this point, paint the white area above the head red and apply a violet wash to the blank space where the hair will be painted. This will ensure that the white canvas will not show through the hair. Use a 3/4 inch brush to continue adding more and more layers to the beard until the area is sufficently covered, then build upon the hair in a similar fashion. Start from the hairline then use a sweeping motion to create an organic line away from the face. As the brushstrokes extend further away from the face, allow them to fade and leave faint streaks of color.
Experimentation
When painting the features of the face as well as the hair, experiment with various hues by mixing several colors together. Throughout the painting process, I didn’t restrict myself in regards to the color palette. I chose colors based on how I felt and what I desired. By disregarding the technical aspects of painting, I was able to emulate the strong color used by the Fauvists as well as their brushstrokes. I painted based on what I felt instead of what I thought. Subconsciously, the principles of design and elements of art may have influenced my decisions, but overall, I painted without thinking. This allowed me to try new methods and materials without hesitation which led to my overall success. Prior to this project, I only mixed paint using brushes and I only applied paint using brushes as well. But for my self portrait, I experimented with plastic palette knives. With these new tools added to my repertoire, I now know how to thoroughly mix paint to get an even hue and I can apply paint in various ways to achieve different textures. I used three different palette knives; one for dark paints, light paints, and one for applying paint. My technique for mixing paint was to swirl the different hues around with the tip of the palette knife, then spread the paint back and forth with the bottom surface of the knife. I only used the large palette knife to apply paint to the shirt area. First, I applied a rough layer of acrylic paint on top of the violet wash by dipping the edge of the knife into the leftover paint on my dark hue palette then pressing the knife’s edge to the canvas. From there, I dragged the paint down which left a rough texture. Once the layer dried, I dipped the edge of the knife into yellow paint and pressed it horizontally into the canvas and dragged the edge to the right. I then dragged the knife through the yellow streaks vertically to create more texture. In addition to palette knifes, I experimented with a straw and watered down paint. I placed runny acrylic paint onto a brush and dabbed it on the top of the canvas and allowed the paint to run down the canvas. I used a straw to blow on the paint as it dripped which allowed me to spread the paint and make interesting shapes. I flipped my canvas upside down and repeated this process starting from the shoulder area.This allowed me to add movement and visual interest to the piece.
Artistic Inspiration
The piece “Autonomy” draws inspiration from André Derain and German Lemus’s portrait of Abraham Lincoln. Credited as a founder of Fauvism, André Derain focused on using vibrant colors and visible brushstrokes as a means of expression as well as a way to accentuate space and light. The colors he used weren’t true to their subject, rather, they were true to his perception of his subject. In Fauvist art, color was a fundamental element that conveyed messages and ideas. A prime example of Fauvist art is Derain’s “Portrait Of Matisse” where the colors are exaggerated and the brushstrokes are visible. I aimed to emulate both Derain’s use of color and his brushstrokes. In my piece, there exists a similar focus on color that does not aim to depict reality but rather, my perception of myself. In regards to brushstrokes, I tried to emulate the rough and free strokes of Derain in my hair and beard. Much like Derain’s brushstrokes, my brushstrokes are visible and layered on top of each other. My piece differs from Derain’s as my background is comprised of three solid colors whereas his is a homogenous combination of various hues. Furthermore, my piece isn’t as focused on shadow and light as Derain’s work was. My face only has a few shadows created by dark skin tones whereas Derain’s piece exaggerates the shadows on the subject’s face though dark paint. In addition, Derain’s paint is far thicker and more opaque than the acrylic I used which allowed him to achieve more vibrant hues and defined texture. When painting this piece, I wanted to incorporate an urban feel and aesthetic. This is where I drew inspiration from the urban contemporary artist, German Lemus and his untitled portrait of Abraham Lincoln. Lemus’s work incorporates vibrant colors and emphasizes light and shadow. In this way, his work is reminiscent of the fauvists and impressionists. In his portrait of Abraham Lincoln, his lines drip and do not blend but instead layer to create depth and shadow. I emulated this layering in the areas of hair in my piece. Rather than blending, I layered multiple colors to make areas lighter and darker. Also, I allowed my paint to drip in the background to simulate spray paint. In regards to differences, Lemus’s portrait is an abstract representation whereas my piece is structured. Furthermore, Lemus’s lines are bold and thick whereas mine are relatively thin. Overall, I think I successfully emulated German Lemus’s piece. My use of color to add depth and urban aesthetic are clearly inspired from Lemus’s style.
Reflection
Though the completion of this piece, I have become more familiar with acrylic paint and painting techniques. Prior to this piece, I painted on small canvases. This was a learning experience as it allowed me to better understand color and explore my own style. I found it challenging to make the portrait a self-portrait because I struggled to find a way to make it my own. I wanted to represent my own perception of myself in an authentic manner. Color helped me surmount this challenge. Through my use of vibrant colors and free lines I was able to express myself in a way I deem real and true to my perception. This is why I consider “Autonomy” a success. The piece looks as I wanted it to and my intentions are clear. Through the juxtaposition of light and dark and use of organic lines, I demonstrated my freedom to be creative. The vibrant colors are a successful symbol of my thought process and decisions as an artist. Furthermore, by showing my perception of myself to the viewer, I am able to celebrate individuality through the piece. “Autonomy” is intentionally unapologetic. I used colors that juxtaposed and lines that look rough to emphasize my artistic autonomy. As color was a device I used to do this, I am able to say that my emulation of André Derain was successful. I used different colors to tell as story much like Derain did in his work. While his brushstrokes may be more definite and his colors more exaggerated, our work, at the core, is mutually focused on expression through color. As a result, my piece also successfully emulates German Lemus’s work. By allowing my paint to drip on the canvas, I achieved a similar aesthetic to Lemus’s untitled portrait of Abraham Lincoln. My use of vibrant colors also allowed me to emulate his style. While our mediums may differ, our pieces both strive to make a statement through the juxtaposition of color and figure.
Meaning
“Autonomy” is a celebration of individuality through vibrant color and loose lines. Color is symbolic for my freedom as an artist to think and create unapologetically. When asked who we are, seldom do we tell the truth. Because the truth paints a picture we rarely enjoy. With my self portrait, I wanted to represent myself based on my own perception of who I am. Those around us have their own perceptions of who we are. My piece is not a statement that negates the perceptions of others, but rather, a statement declaring my autonomy. I am an independent being much like everyone else on this Earth. Regardless of what people think of me, I am me. And even if society influences me, no one can stop me from creating art the way I want to create it. More than anything, my piece is a call to all people to celebrate who they are. I have painted myself as I see myself. I emphasized the hair and beard because those are parts of me that people always tell me to change. Those are the parts of me I have complete control of. My hair is symbolic of my personal freedom. I chose to paint my normal facial expression because I don’t want to hide who I am from the viewer. I even left in a mole under my eye. These are parts of who I am. This is my unapologetic expression.
Connection to ACT
1. I am able to identify the cause-effect relationship between my inspiration and its effect upon my artwork by analyzing the colors and brushstrokes in my piece. It is clear that my use of vibrant colors and visible brushstrokes draws from André Derain’s work. Furthermore, by utilizing color to express and make a statement, my piece emulates German Lemus’s portrait of Abraham Lincoln.
2. The author's point of view regarding André Derain is that he was a Fauvist focused on using color as a way to express himself and his ideas. In regards to German Lemus, the author's point of view is that Lemus is an urban contemporary artist that utilizes vibrant color to emphasize light and dark.
3. While researching, I've come to the conclusion that color is an important aspect of life that can convey a message or tell a story. Color can offer a new perspective and change the tone of a piece.
4. The central theme of my inspirational research was autonomous artistic expression.
5. While reading my research, I inferred that André Derain focused on portraying the world as he perceived it which resulted in his bold use of color. Furthermore, I inferred that German Lemus juxtaposed his medium and his subject in his portrait of Abraham Lincoln to comment on society.
2. The author's point of view regarding André Derain is that he was a Fauvist focused on using color as a way to express himself and his ideas. In regards to German Lemus, the author's point of view is that Lemus is an urban contemporary artist that utilizes vibrant color to emphasize light and dark.
3. While researching, I've come to the conclusion that color is an important aspect of life that can convey a message or tell a story. Color can offer a new perspective and change the tone of a piece.
4. The central theme of my inspirational research was autonomous artistic expression.
5. While reading my research, I inferred that André Derain focused on portraying the world as he perceived it which resulted in his bold use of color. Furthermore, I inferred that German Lemus juxtaposed his medium and his subject in his portrait of Abraham Lincoln to comment on society.
Sources
Websites
Lemus, German. "About." German Lemus. N.p., n.d. Web. 1 Dec. 2016. <http://www.germanlemus.com/about>.
"Fauvism Movement, Artists and Major Works." The Art Story. The Art Story Foundation, n.d. Web. 1 Dec. 2016. <http://www.theartstory.org/movement-fauvism.htm>.
"André Derain Biography, Art, and Analysis of Works." The Art Story. The Art Story Foundation, n.d. Web. 1 Dec. 2016. <http://www.theartstory.org/artist-derain-andre.htm>.
Books
Whitfield, Sarah. Fauvism. New York: Thames and Hudson, 1996. Print.
Ruhrberg, Karl, and Ingo F. Walther. Art of the 20th Century. KoÌln: Taschen, 2005. Print.
Elderfield, John. The "wild Beasts": Fauvism and Its Affinities. New York: Museum of Modern Art, 1976. Print.
Lemus, German. "About." German Lemus. N.p., n.d. Web. 1 Dec. 2016. <http://www.germanlemus.com/about>.
"Fauvism Movement, Artists and Major Works." The Art Story. The Art Story Foundation, n.d. Web. 1 Dec. 2016. <http://www.theartstory.org/movement-fauvism.htm>.
"André Derain Biography, Art, and Analysis of Works." The Art Story. The Art Story Foundation, n.d. Web. 1 Dec. 2016. <http://www.theartstory.org/artist-derain-andre.htm>.
Books
Whitfield, Sarah. Fauvism. New York: Thames and Hudson, 1996. Print.
Ruhrberg, Karl, and Ingo F. Walther. Art of the 20th Century. KoÌln: Taschen, 2005. Print.
Elderfield, John. The "wild Beasts": Fauvism and Its Affinities. New York: Museum of Modern Art, 1976. Print.