"Bradley" An Intaglio Portrait

I have recently had the pleasure of talking with Clare Penny, a portrait artist working in Scotland. Clair and I have been discussing the many challenges of portraiture, including painting accurate skin tones in our works. We've also been talking about our tonal portraits.

Clare has an interesting one color portrait on her website www.clarepenny.com. of a laughing girl. See a link to her website in the "Recommended Links " right side column. She also has just completed a wonderful portrait entitled "Sianainn" that you'll want to see.

I'm posting a monochromatic (one color) intaglio portrait I completed awhile ago, to show how using values of one color can create an interesting portrait.

Portrait artists have long used monochromatic drawings as preliminary studies for commissioned portraits. In many cases these studies have become as popular and valued as their more formal works.

I'd love to hear from other portrait artists about their tonal portraits or tips they find helpful to create great skin tones in their paintings.

Sepia intaglio etching
Price: $350.00


Mary said...

Kay, I LOVE this!!! What a beauty! Did someone sit for the initial drawing of it? Or did you work off of a photo? However you started it, the finished piece is nothing short of pristine, "fine", and gorgeous! Mary

Katherine M Schneider said...

Hi Mary,
The sitter is a fellow printmaker whom I enjoyed getting to know during my art studies at The College Of Charleston. I was honored to have the portrait juried into the annual "Young Contemporaries" Show in the Halsey Gallery at the College by the Director of the Southeastern Center for Contemporary Art, Michelle Rowe-Shields.

Thanks for stopping by and for your comments. It's great to hear from you.

As always, all the best,

Katherine M Schneider said...
This comment has been removed by the author.
Katherine M Schneider said...

Oops! I accidentally deleted the above comment. I was going to say..
Hi again Mary,
You asked about the artistic process to create the portrait. I used a combination of life and photo reference to do the work.

I find working from a live model is always best so I work that way when I can. Photo's can be a useful reference if an artist is aware of their distortions and limitations.

Thanks for your encouraging comments. Keep your paint brush wet!

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