THE MAKING OF A PORTRAIT

Portrait of Kelsey

An oil portrait created from an original photographic session.

THE PERSON

What makes her Kelsey.

As my eldest daughter, Kelsey is someone I know very well. The challenge was not getting to know her, but deciding which aspects of her character I wanted the painting to reveal.

We talked about how she wanted to be seen, what she might wear, possible poses and locations for the photographic session, as well as where the finished painting would eventually hang. Together, these things helped shape the direction of the work.

The aim was to create something relaxed and individual rather than a conventional posed portrait. Her second-floor flat was filled with natural light from the main window, making it an ideal setting for the photographs.

Kelsey seated by a window in her flat during the portrait photography session.

THE PHOTOGRAPHIC SESSION

Finding the image.

With the natural light in Kelsey's flat established, we explored different positions, expressions and compositions.

Rather than trying to create a single perfect photograph, I made small adjustments to the light, pose and viewpoint, looking for those moments that felt most like Kelsey.

Photographic study of Kelsey looking down, with soft natural light across her face.

Kelsey facing the camera during the photographic session for her oil portrait.

Kelsey adjusting her jewellery during the photographic session.

THE SELECTED IMAGE

The chosen image.

From the resulting photographs, one image stood out. The expression, the turn of the head and the way the light moved across her face had the quality I was looking for.

Selected photographic reference of Kelsey used to create her oil portrait.

Kelsey · Oil on board · 40 × 50 cm

THE FIRST MARKS

Building the painting.

The oil portrait painting process begins with establishing the drawing and the main relationships of light and dark. At this stage I am looking for the structure of the face, the placement of the features and the overall balance of the composition.

The first layers are deliberately simple. Thin washes allow the drawing to remain visible while I gradually give shape to the face and establish the strongest areas of light and shadow.

Early monochrome underpainting of Kelsey's portrait, establishing the facial features and tonal values.

DEVELOPING THE PAINTING

From structure to colour.

Once the underlying structure is established, I introduce colour gradually, balancing the warmer and cooler areas of the painting.

Some areas become more resolved while others are deliberately left open. I continually return to the relationships between light, colour and overall balance, making adjustments as the painting develops, sometimes adding paint and sometimes scraping it away, rather than trying to finish one area at a time.