A Father and Son Embracing at the Wedding Ceremony | Acrylic Painting
JIMMY & CRAIG
Portrait size: 12" x 16"
on Ampersand Gessobord
on Ampersand Gessobord
Completed: October 2024
20th August 2024
Hi, I am considering getting a portrait commissioned (30x40 acrylic) on behalf of my friend whose father has recently passed. The picture I have is taken indoors, although well lit, when his father surprised us all by making it to his wedding day despite being critically ill. It was a pivotal moment in his life and I would love it captured by yourself and I think it would help him through the grieving process.
Hi, I am considering getting a portrait commissioned (30x40 acrylic) on behalf of my friend whose father has recently passed. The picture I have is taken indoors, although well lit, when his father surprised us all by making it to his wedding day despite being critically ill. It was a pivotal moment in his life and I would love it captured by yourself and I think it would help him through the grieving process.
In August 2024, Daniel contacted me to commission a 12" by 16" acrylic painting. He wanted me to recreate a deeply moving moment of his friend embracing his father during the wedding ceremony. The moment held particular significance, as his father had been critically ill and was not expected to attend. After his father’s recent passing, Daniel got in touch to have this piece created as a meaningful birthday gift for his friend in December, hoping it would offer some comfort during a very difficult time.
Please read on to learn more about how the commission developed, including videos, progress images, the finished framed portrait, and Daniel’s feedback.
Please read on to learn more about how the commission developed, including videos, progress images, the finished framed portrait, and Daniel’s feedback.
'Jimmy & Craig'
I find the challenge of portraiture incredibly rewarding. I have always enjoyed work that stretches me, and portraits offer a level of complexity and focus that I find especially engaging. Although most of my commissions involve pets, I really do appreciate the chance to widen the scope when someone requests a portrait of a person. One specific request for this painting included the phrase "Everybody goes, Nobody leaves." Although I typically avoid incorporating text in my artwork, I recognised the phrase's significance to the recipient, so it felt important to find a way to include them without distracting from the main subjects. Consequently, I was able to place the text in a way that felt considered and cohesive, adding to the piece rather than competing with it.
The primary challenge I faced while working on this composition was the repetitive nature of the brickwork. I aimed to incorporate multi-coloured bricks in the wall while ensuring they remained subdued in the background, so as not to distract from the main subjects. This required careful consideration and time. To achieve a softer colour palette, I applied a transparent layer of white and used a dry brushing technique. This effect can also be observed subtly at the edges of the painting, which helps to direct the viewer's focus toward the primary subjects upon first inspection.
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The three time-lapse videos provided above and below showcase important stages of the painting process. The first two videos emphasise the detailing of the jackets, while the third video concentrates on the creation of the skintones on the face and head. Although the videos are concise, they encapsulate approximately two hours of work each. Offering these videos as part of the commission process enhances the overall experience for the client, allowing them to witness the creation of the artwork. Additionally, it enables the recipient of a gifted portrait to appreciate the process from inception to completion.
Why the green base tones?
You will see that Terre Verte has been applied directly to the areas where the skin tones will be developed later. This is an intentional part of the process. Using a green underlayer helps the subsequent flesh colours settle in a more natural and balanced way. Terre Verte, or Green Earth, has a long history in portrait painting. Medieval and Renaissance artists often used it as a verdaccio underpainting before introducing the warmer skin tones. The green gently counteracts the natural reds and pinks found in the face, which results in skin colours that appear more lifelike and harmonious. It also provides a subtle depth that supports the layers that follow.
You will see that Terre Verte has been applied directly to the areas where the skin tones will be developed later. This is an intentional part of the process. Using a green underlayer helps the subsequent flesh colours settle in a more natural and balanced way. Terre Verte, or Green Earth, has a long history in portrait painting. Medieval and Renaissance artists often used it as a verdaccio underpainting before introducing the warmer skin tones. The green gently counteracts the natural reds and pinks found in the face, which results in skin colours that appear more lifelike and harmonious. It also provides a subtle depth that supports the layers that follow.
Portraiture is a very personal undertaking for any artist, and even small inaccuracies can stand out and affect the overall feel of the piece. Achieving a lifelike result calls for a steady, methodical approach, with plenty of pauses to step back and judge the work with fresh eyes. This is helpful in all forms of portrait work, but it becomes especially important when painting someone you know and love. In those instances, I find it essential to concentrate even more diligently to achieve the desired level of perfection.
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Customer Testimonial" Hi Karen,
I have reviewed the painting and it's exactly how you promised it would be. I'm sure he'll love it." |
