How to achieve artistic likeness? …Momentum
For any artist, the immediate wake from an exhibition can be choppy. It is a time of intense reflection, evaluation and indeed determination to get on with the next one. To make sense of this swell is to seek out an anchor point, repoint the compass and chart a course. As the storm of the West Wycombe Art Group’s Spring Exhibition passes, we looked for a safe harbour to reset and recharge.
Enter Tim Robinson, a long time member of the Group, and a much admired artist with a unique expressive style. Invited to demonstrate his process for portraiture, last Monday the Group was held enraptured by Tim’s energetic and bold approach to achieving a likeness.
Tim, a highly accomplished master furniture maker by trade, brings his own flair to the canvas, or as he prefers, offcuts of plywood from his workshop. Firmer surfaces allow Tim to engage with his work far more physically. A simple emulsion primer, roughly applied, provides the ground, introducing the first layer of texture before anything further touches the panel.
“Keep the momentum going, and we may get a likeness, but hopefully, a bit of art”
Tim explains to the Group that the key is movement. Start with a line, any line, and keep it moving. A basic grid helps with the placement of features and perspective, and a carpenter’s pencil is used to make the marks. The thickness of the lead is vital; robust enough to withstand the vigour of his application, and providing the cool metallic grey that Tim prefers for shadows.
Initial graphite study on the panel
At this point Tim reflects: “Keep the momentum going, and we may get a likeness, but hopefully, a bit of art.”
A likeness certainly emerges, and a good one, of our sitter Sylvia, another favourite of the Group and the featured artist at our Spring Exhibition. Not only a likeness, but this initial graphite study is certainly a work of art in itself.
A pause now for Tim to rest, and for a breathless Group to catch up. With his advice in mind, pencils dance across surfaces, the usual scratching from soloist Tim is now a symphony, as artists attempt imitation. Those who are used to the fine detail achieved with the point of a sharpened 2B or a mechanical pencil, may find this approach anathema, but breaking free of such intentional and careful placement of line and stroke is in fact a liberation. And one in which a likeness emerges for all artists nonetheless.
Initial studies complete, Tim is ready for colour. The tool box opens to reveal a rich variety of colours across many different mediums. To begin, soft pastels introduce light indications of future intentions with oils. Lemon yellow provides illumination to the face, with touches of red to bring the subject to life. Cool blues provide a background bringing Sylvia into sharp relief. The graphite marks are preserved, and against the yellow a gentle chiaroscuro effect is created.
Over to willing students now, each to bring colour to their studies. Like the pencil work, Tim encourages momentum and discourages dwelling for too long in any one place. Colours are placed expressively and strong interpretations of Sylvia’s vibrant personality appears on each work.
Colour is applied expressively
The rich pigmentation and chroma that oil paint offers is now the focus. The drama of the still visible graphite work, and the soft light captured by the pastels, is emboldened by cadmium yellow and orange, and phthalo blue tinted with titanium white. A lighter flesh tone captures Sylvia’s warmth, offset by touches of green, mixed towards the yellow shade, for emphasis. A sight line along the axis of the eyes, again in striking cad yellow, draws focus to the face. Special attention is also paid to the hands, which Tim shares hold a deep fascination for him. The hands can be overlooked, in favour of the eyes, but Tim finds that a person’s story is to be found in their hands. “They’re quite structural,” he observes, “they really do show the light and shade quite well, and they’re quite interesting… I love the hands.” To emphasise their understated role, Tim highlights just the top of the clasped fingers with gentle tones, allowing the graphite below to reveal the tale.
“… It is panic, really. You might as well come up with a style that gives you just enough to feel you’ve done a good job”
Reaching the end of the demonstration, Tim is asked how he developed his style. “Panic,” he answers, before reflecting, “we kind of work in an environment where my only source of portraits is here - so you get a two-hour time slot to make as best a job you can. So it is panic, really. You might as well come up with a style that gives you just enough to feel you’ve done a good job. But also artistic.” Tim pauses a moment before concluding, “It wants to look artistic more than a likeness I always think.”
Tim’s finished work of art
The resulting work achieves both, capturing the essence of the subject. The Sylvia we know, warm, humorous, fun and welcoming, is shown accurately in this expressive and lively piece. Tim gets a likeness, and indeed, a work of art.
And for the Group, a haven is found, and berth secured. Encouraged by Tim’s expression and momentum, and with new techniques in mind, we can now look out to a clearer horizon, as the Summer Exhibition emerges slowly into view.
WWAG Artists admire their pieces