“After” - Portrait Contest Winner Illustration by Sam Spratt
So first, thanks again to everyone who entered my portrait contest, they’re always fun for me to make. Rob, who won the whole shebang, gave me a few vague ideas to get inspired by, and let the rest unfold. He liked aspects of The Grey, and desolate, almost post-apolcalyptic in aesthetic environments — the minimal colors, extreme lighting, and graphic look of 300, and from his FB interests I noted a lot of top notch cinematic movies and TV shows like True Detective and Memento so wanted the pose and composition to give a more in-motion vibe than I usually am keen on. I sketched out a new pose from the references given, used myself and a shirt as a lighting reference, created a vague refinery scene, added small details from cuts and bruises to his girlfriend’s name carved into the butt of the rifle on his back, and began painting. Thanks for being an awesome subject matter with a hell of a beard, Rob.
To everyone else, I’ll be sure to do this again, and you can of course always snag a print of many of my other works: HERE
Photo of me in my half-assed Van Gogh costume by my good friend Joey L from his Halloween in Brooklyn series (he shoots at a bajillion megapixels so you can see my bloodshot eye in all its ‘forgot-to-take-the-contacts-out’ glory). This is nothing though, the OTHER portraits in the series…. hot damn, they’re so excruciatingly awesome, you’ve gotta go check them out — they’re of REAL people — not synthetic losers like me.
In art school, one life painting class changed my perception of what a portrait meant. I had always been under the impression that artists painted portraits, regardless of medium, in almost a “paint by numbers” fashion, where the areas of color you see on a final piece were deliberately and meticulously placed there and next to each other to comprise a face. To anyone with any experience, you know the absurdity of that – but it really wasn’t until this class, where we were taught the technique of Peter Paul Rubens, that it finally clicked: just as in actuality, how the color of a face is determined by many layers of skin, where blood flows most, how light hits it, and an infinite number of other factors – paintings are often built through many layers, with the physical history of how it’s layered creating color and light variance that you can’t just lay down like a coloring book.
As I was taught, Rubens would establish form in sketches, lay down a loose wash of gold/raw sienna to create warmth, work in some achromatic raw brown into the shadows and highlights to establish light, use an achromatic greyscale in the cooler toned areas of the skin which he called the “dead color”, lightly glaze in color areas over the form, lay opaque color down to bring some life into it and work over mistakes, with a good ‘ol coat of details to finish it all off. There’s a lot of academic debate about his exact process, but whatever my professor, Roger Walton, passed along – stuck. Now 4-5 years since that class, that same oil technique stays in the back of my mind even on the Cintiq. Long-winded artsy gibberish aside, I just wanted to share a tiny look into process and give credit where credit is due on how one class and a great teacher had a profound impact on the direction I chose to head in.
I’ve been going just a bit crazy bouncing between client projects for… well awhile now… but I’ve got a few days before things go back to insanity and a good ‘ol fashioned portrait of Daniel Craig seemed like a great way to refresh.
"Lady In The Dark Dress" - Illustration by Sam Spratt
Two of my many artsy New Year’s resolutions were to do more full-body portraits (as opposed to my usual chest-up) and to imagine up design elements I normally wouldn’t put much thought into — in this case, a dress.