Tag: Portraits in Art

Charcoal medium is one of the oldest media. That dates back some 28,000 BC Imagined our ancestors needing to document hunt events. Moreover, rituals were painting their faces meant to become adults. Moreover, it became much refined by the latest artists by burning wood, from big to tiny portions bound with gum into sticks. Then until now, fancy pencils have become available.

This is a dry media that releases a beautiful pigment. From grainy to textural techniques, the artist creates different styles to their taste.  The object dictates how it wants to be released.

Everything drawn with charcoal gives a unique moment. Spontaneous strokes create dynamics. Then, on the other hand, shading from dark to light gives us a tangible reality. The expression ranges in different directions where there are no limitations to use.

Furthermore, charcoal mimics other media such as oil in its texture. It boroughs itself for a classy cutting style. Remember, it compresses all colors into one spectrum. The light is visible, and the dark functions with it. One and the other are one. Black exists in nature and lives because of the morning.

What’s more, black and white are distinctive in color for they are simple and do not tire your sight. Everything is solid and transparent. Therefore is associated with weddings, cleanliness, and peacefulness.

Charcoal, in terms of symbols, places a model in an overall light spectrum. And just a medium variant of black. Gray color but white as its dominant it creates a focal point. On the other hand, regarding subjects is interesting. Asian associated white with the dead.   A bad omen. But then again, what the caves man wanted to portray.  As being eaten or eating the animal.

“Model” Charcoal on paper, Size 24″ x 18″ 1998

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CHARCOAL

Portraying Features: Every person has different character qualities. Their eyes can tell you a whole story. The artist grabs that moment when the soul is at peace or tense. Along with this comes a connection of intimacy shared with their models. Once done in any media, it becomes a memory—a reminder of our kind that may be present with us or gone. Its interest relies on preserving it for a family and eventually becoming a collectible.

Recently, portraits have undergone many changes due to digital camera development. We thank free digitalization and its many applications. It has helped other artists break through the setting banalities, for it does not follow one style and is free to explore in many directions.

So why paint a painting when we have a digital photo? The difference relies on its three-dimensionality. The layers add depth, making us see details we miss in life. We feel as if the person will move from the canvas. Perhaps the artist reflects the person’s soul. Then, it shows the inner feelings within. The human touch alone will not disappear. But it is still a unique medium for every person who beholds only one experience through his eye.

The fascination and engagement come from seeing ourselves in three-dimensional form. And there is the memory of yourself when you were young.

It has been a matter of fascination throughout centuries and now as well. The image reveals some trades in a person’s character. Beginning with their eyes, it makes us speculate about another known person. The mind tends to relate, looking for known positive situations with familiar people. Otherwise, it connects us to their attractiveness for admiration.

In ancient times, Roman busts were successful. Greeks venerated the beauty of their sculptural bodies to celebrate the Olympic games. They linked the mind and the body as one entity. A healthy mind means a healthy body. Enjoy it.

“Portraying Features” size 12″ x 6″ Vine Charcoal on paper

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Pilar Pascual, on that day, came dressed and ready to dance. Indeed, pose for us four times every Monday for four hours. As a ticket of appreciation, some students gave her posing drawings.

Above is one of the best pieces about her under the teacher’s request to paint it over Masonite wood. It is a smooth material and works well with brush strokes. But then, in the end, the artist decides what the finish will look like.

The glow within came from another technique based on artificial light. That adeptness has given me new ideas for future techniques I use in landscapes. Everything goes hand in hand; learn anatomy, and you can paint any other object from life.

Moreover, Pilar face is the focal point; the dress is in unison and flows with the rest of her body. Surprisingly, she used to know Vargas, a male dancer friend Who participated [ate with a prominent guitarist called Sabicas.

Moreover, there is something about her subject and the painting. Years have passed, and it feels as if it was painted yesterday.

The oil painting justifies the shades. Its spontaneous quality feels like velvet printed on a plank of aged wood.

We sketched her as a warm-up before the painting, and it would have been better to keep the drawing. Sketches are the best reference for a third study painting in the future.

Also, painting over masonite wood is suitable for achieving a smooth technique. My instructor at the art school suggested using it and gave me tips on how to gesso it—and sand it with the finest sandpaper.

Afterward, the portrait is unique, like the Cante Hondo; it ages like a glass of wine in a barrel as the years pass. Not ready to drink but prepared to be visually digested.

PILAR PASCUAL

“Pilar Pascual” Oil  on Masonite Wood, 24″ X 18 ” 1995

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PILAR PASCUAL