#portaiture

[aelaer]

Every year I do a drawing during Comic Con in between panels and such. Here's this year's Doctor Strange.

[oddlyunadventurous]

Self-portrait of the Artist Being Sick a.k.a. The Hottest Ugly Person You'll Ever See a.k.a. My Trent Reznor Transformation is Almost Complete

[modifiedamnesiac]

[translucentpthalo]

Don't have any pictures of the actual finished painting, and now I can't because it's on the other side of the country, but did a painting of my girlfriend's cat

[niccola-decapovina]

I recently came across a blog which called itself along that famous novel "I Strahd"

... and still I was suprised to see, that it mostly consisted of the various and beautiful portaiture and similar artworks the Curse of Strahd community has to offer. I shouldn't have been.

[scenefromthesidewalk]

"DON'T TOUCH MY HAIR"

by Nils Westergard

In 2017 Richmond, VA photographer Selah Marie, aka @VisualNarrator crafted a floral headpiece for a stunning photo she titled "Don't Touch My Hair." A year later prolific Richmond artist Nils Westergard leaned heavily on Selah's image in painting this mural behind @DramandDraughtGSO at Gate City Blvd and Eugene St in Greensboro, NC. Greensboro arts organizer @KotisStreetArt says Westergard's mural is "a continuation of a series of floral inspried portaiture that attempts to express the sometimes overwhelming affect of organic beauty."

LOCATION: 300 W Gate City Blvd, Greensboro, NC 27406

IG: @nilsrva  

[eng-a-stuff]

Frida Kahlo lecture

3 things that suprised me:

She was a communist.

The pains and illnesses she endured during her life-time

That she wore traditional mexican dresses to appeal to her husband and also cover the fact that she had a limp

2 things worth exploring

Using herself as the pain subject of her portraits (focus on the individual). I specifically found this intruiging because I studied Egon Schiele for my VA comparative study, who also uses self-portaiture to express himself.

How she specifially stated that her paintings are not surrealist (dream-like scenarios), but rather her perception of the world.

[bluebosmer]

Attempt at portaiture in gouache. Subject Jessie Mei Li. I did not paint for several months and I am hobby painter be kind.

[olivechristoffersen]

YVONNE TODD

Yvonne Todd is a New Zealand photographer famous for her portaiture work

All of these images are from the 'Creamy Psychology' exhibition

She was trained as a commercial photographer and applies those same techniques to her studio photography which contrasts the wild and wacky ways in which she dresses her models.

I chose 4 images, 2 being classically lit and the other two having an interesting use of shadows

The two with classic lighting are flat and even, I imagine a few soft boxes would have been used in order to avoid harsh shadows and to keep the light consistent throughout the images

The other two appear to use some sort of backlighting so the background is well lit and the models are covered in shadows so you cannot see their faces, this is clearly an artistic choice as those two images the models are posed more like mannequins who normally don't have faces. So for these images Yvonne has used light strategically to portray meaning.

Photos sourced

[whitebelt-witch]

babe what’s wrong you’ve hardly touched your Offbeat and on point, fashion portaiture by Zuza Krajewska - Gallery 1 - Image 3

(via Offbeat and on point, fashion portaiture by Zuza Krajewska - Gallery 1 - Image 3)

[billysdigiblog]

Reflection 10: Fuga Modus

(Task 3.2)

I came across Joyce Camilleri’s pandemic-encouraged series quite by chance; currently they are a body of work exhibited at the relatively little Jo Borg Gallery in Sliema, which I randomly happened across while walking home in the evening along Manuel Dimech. Finding the works to my liking, some research told me that the series has travelled around various exhibitory avenues, including MUZA and Il-Kamra ta' Fuq, and with some luck ended up in my own very area. The series themselves were created with a veritable multitude of media; oils, inks, and graphite on canson, acid-free paper, archival boards, or hot-pressed paper. They were created consecutively after one another during the onslaught of lockdowns and quarantine measures at the beginning of 2020, as a result of the termination of live-drawing classes that Camilleri habitually attended. Normally a figurative-oriented artist, Camilleri regularly practiced figure drawing and portaiture during these lessons. When it was announced that they were to be discontinued, Camilleri set about in a new direction, propelled by a vastly changing charged atmosphere of tension and uncertainty. 

Owing to the fact that Camilleri lives in Luqa in close proximity to the national airport, two factors relevant to this were responsible for conceiving the series. First, Camilleri noticed the lack of revving engine noise that she was accustomed to hearing – a change she in part appreciated – and instead was confronted with a newfound silence that just kept on lasting (Camilleri, 2021). Secondly, the clear space and fields around Luqa presented Camilleri with a newfound subject matter to draw inspiration from. The natural shape language of the familiar Maltese landscapes readily available to her began to take precedence as a point of inspiration in her work. Thus, sitting at her drawing table, she “switched [her] mind on flight mode” (Camilleri, 2021) and began to work.

A prolific user of the printing press, Camilleri’s oeuvre is rich in aesthetic derived from and composed of print. Monoprints, especially, form a large part of the artist’s process, often creating the print first as a collection of vague, outlines forms and contours, and setting about filling the spaces with a range of simultaneously wet and dry media. The variety of techniques applied to paper are perhaps not evident from photographs, but very much so in real life. Plentiful amounts of grain and noise inform every inch of the achromatic fields and sections, lending the paintings a pleasant matt texture, which prevents the spaces from acquiring a glossy and plastic-like consistency. I feel this is significant, as it creates a certain feeling of void or absence; an empty negative space full of millions of particles, rather than a smooth and gleaming ruber-iness. 

The works take a change of direction over time. Placed on the walls according to size and visual theme, the smaller works begin as vertically-oriented and sectioned into large, sharp value shapes selected from the low-key range. They then exponentially increase in scale, and lines begin to faze out through the rendering and blending of forms; the depictions acquire a more palpable sense of volume and resemble turbulent landscapes, seascapes, and horizon lines. All throughout, they keep their texture, value, tone, and adherence to flowing in a singular direction. 

The works can be analysed endlessly. Camilleri exemplifies her talents in composing with value, and mastery over the simple basics in order to evoke an essence of timelessness and absence.

[swtorcompanionsgoofin]

SO I DID THE THING, WHERE U RANDOMLY GENERATE COLOUR PALETTES, AND TURN YOUR WHOLE SETUP TO GREYSCALE SO U DON'T KNOW WHAT THE COLOURS ARE, AND IT WORKED WAY BETTER THAN I THOUGHT IT WOULD

I'M REELING.

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Obligatory Linkies:

Art Blog: @haospart

Commissions and Other Shit: Link Here

[fulgurantfirstborn]

{{Gwynfor, his half-brother Solis, and Lord Gwyn in Hyalus, the homebrew setting of the DnD campaign I play in, my DM kindly let me indulge in having Gwynfor be an NPC my player character knows}}

[quo-usque-tandem]

Portrait of Rita de Acosta by Boldini

[echera]

Photograph by Irving Penn.

[everydayafghanistan]

An Afghan woman with the baby goat. #Faryab #Afghanistan Photo by Oriane Zerah @oriane_zerah_photo. #everydayafghanistan #woman #afghanwomen #everydayeverywhere #goat #animal #farming #everydayfaryab #province #reportagespotlight #photography #storytelling #portrait #portaiture #everydayasia #red (at Faryab Province) https://www.instagram.com/p/Ch95_p5tV5-/?igshid=NGJjMDIxMWI=