Originally published in Dessin et Peinture magazine in 2005, this article follows the creation of a portrait of my granddaughter Leeloo, then five years old, step by step.
Two years earlier, I had already painted her portrait. This time, I chose a melancholic, deeply introspective photograph. Because Leeloo is naturally very mischievous, I wanted to give her a slightly happier expression than in the original photograph.
At the time, her favorite color was pink, an important detail to me: a portrait must reflect the subject's character above all else. Painting someone you know well makes achieving a likeness more demanding, but as they say, no pain, no gain!
Materials and preparation
II worked on a heavy 65 × 50 cm canvas, using 2B and 7H pencils, a large sheet of tracing paper, fixative, turpentine and Courtrai white drier. For the painting, I used a selection of brushes, including sable and Kolinsky brushes, several worn filbert brushes, and a 6 cm flat brush.
The drawing
Using a piece of tracing paper the size of the canvas, I reproduced the main lines of the drawing with a 2B pencil on a large, inverted print of the photograph.
I then transferred the drawing onto the canvas so that it appeared the right way round, and refined the entire image with a 7H pencil. I tried to remain as close as possible to the photograph, carefully defining the volumes.
Once the drawing was complete, I sprayed an even coat of fixative over the entire canvas. I left it to dry overnight, then lightly sanded the surface with 0000-grade sandpaper before stretching the canvas over the frame.
Color preparation
My method is to prepare small piles of paint in different shades. I use a palette knife to blend the colors thoroughly. The basic colors are cadmium red, Helios yellow and titanium white.
I add a very small amount of raw umber to the lightest mixture. To obtain progressively darker tones, I gradually increase the amount of raw umber and add cadmium orange.
I carefully wipe the palette knife between each mixture to keep the different shades clean and distinct.
The face
I mix the colors with pure drier, then quickly apply them over the entire face using worn filbert brushes.
“I immediately blend the colors with a large, dry, worn filbert brush to achieve the smoothest possible transitions.”
When I find that an area needs to be slightly darker or redder, I prepare the shade directly on the palette. I layer it over the paint, then immediately blend it with the dry, worn filbert brushes
To keep these brushes clean and dry, I wipe them regularly with absorbent paper, without using turpentine, which would remove the colors instead of blending them. The entire face must be painted very quickly, before the paint begins to set and makes it difficult to achieve smooth, even transitions.
The eyes and mouth
I accentuate the top and edge of the eyelids with almost pure raw umber, applied with a small brush and then blended with a small, worn, dry dome-shaped brush.
To paint the irises, I mix raw umber with orange-yellow, then outline them with pure raw umber. The pupils are black with a touch of white, while leaving the highlights unpainted.
The eyebrows are indicated with a fine brush using raw umber and a touch of white.
For the mouth, I mix the basic colors with red. I use a small worn filbert brush to blend the shades together. The shadow separating the lips is made of raw umber, a little black, and red.
Two important flaws immediately caught my eye. Despite working quickly, the skin tones were not yet satisfactory, and certain areas displeased me. More seriously, the likeness was not there: I did not recognize my little Leeloo, although I could not immediately understand why.
I then take the tracing paper bearing the drawing, roll it up and attach it to the top of the canvas. By gradually unrolling and rolling it back up, I compare the drawing with the painting and identify the differences: a slightly heavier eyelid, eyes that need to be more almond-shaped… I gradually correct each detail.
The background and hair
The very pale background is composed of white with a touch of black and red. I apply it quickly, then I blend it with a dry flat brush, letting it slightly overlap the volume of the hair.
For the hair, I begin by quickly applying the different colors prepared on the palette: yellow ochre, raw umber, and white, mixed in various proportions.
I then blend these flat areas with worn, dry filbert brushes. You have to squint your eyes to no longer distinguish the details and avoid getting lost in the curls.
I then return with fine, pointed brushes to paint the individual strands of hair.
Finally, I add the light highlights, which give the hair all its radiance.
To better spot defects, I use a mirror. Seeing the inverted image accentuates errors, which then become obvious. The difficulty then lies in restoring balance when resuming the painting right-side up.
The long finishing process
Once again, I examine the painting in the mirror and rework all the skin tones to give them greater depth and substance. However, I go too far: the whole portrait becomes too colorful.
Such corrections are part of the process. I therefore return with lighter tones.
I go over the entire face and hair again.
A day or two later, I soften the areas that are too pronounced by applying the color almost undiluted, then smoothing it with worn, dry filbert brushes.
I continue working on the hair, soften the mouth, which has become a little too red, and make the smile slightly more pronounced. These finishing touches can take a very long time. Everything depends on the moment when I decide: Is it finished? Can I take it any further? Then I stop and sign the painting.