FAQ
Could you describe the artwork? The artwork is a collection of 100 miniature portraits. My goals were twofold. I wanted to increase my portrait-painting skills and develop more of a personal style. Knowing that it was a big project and would take time was important as well.
How long did it take you? About 16 months, but I completed other paintings during that time, too.
Why 100? I'd read somewhere that said if one wants to learn how to paint something well, paint it over and over. 100 was a good number. I reasoned that by the time I got to 100, if I didn't figure it out by then, I was in trouble.
What medium did you use? I used professional quality Grumbacher and Windsor and Newton oil paints. I stuck with the primaries, as I wanted to practice mixing them to get the colors I was looking for. When I say primaries, I mean cadmium red, French ultramarine (blue), cadmium-barium yellow light, titanium white, and ivory black. Sap green and burnt umber were also used, although green was used very little because yellow and blue make green. That was a "duh!" moment.
What is the painting surface? I used a product by Ampersand called Gessobord. The panels are very flat, which worked perfectly for portraiture. Each measures 4 x 4", is 1/8" thick, and are archival.
Do you know the people you've painted? No, I do not know any of them. (Update since first writing this FAQ: one person has been positively identified.)
How did you get their pictures? I took photographs.
Are you worried about any legal ramifications? No. This is somewhat of a complex subject matter. For legalities, I'll refer you to the book Art Law Conversations by Elizabeth T Russell.
Did you paint them as photographed? Generally, yes. Remember, my goals were to improve my skills and develop a style. Sometimes developing the style tipped the scales and meant the painting wasn't an exact likeness, per se. When mood and expression came out so strongly in the artwork, I backed off reworking the piece just for the sake of likeness. Faces #55, 66, and 75 are good examples of this.
Have you gone back and altered any of your paintings? No. I decided early on this was a big no-no. To me, that's the beauty of this work. The viewer can see how raw it is, from its very beginnings all the way to the end. My progression is obvious, at least to me. Of course, art is also subjective. One might like a particular style of a portrait, but not see it again in any of the other ones. Therefore, to that person, what they consider progression might be very different.
What is the favorite thing you learned from this? Well, this will sound rudimentary, and if I'd have taken a class on painting portraits, I probably would have learned it at some point, but I noticed that the eyelid casts a shadow on the iris. I thought that was fun. Shadows are everywhere, although I've been inside Mammoth Cave in Kentucky when they turned out all the lights, including the guides' flashlights. There weren't any shadows in there, believe me. It was a bit scary.
What was the most challenging part of this project? My patience for painting ears is quite low. I quite dislike painting them. Maybe that will change over time.
Are they for sale individually? No, the collection is considered one artwork.
How is the artwork displayed? Framing was challenging. I had lofty visions initially, but slowly came to my senses, mainly due to limited resources and time. My husband helped me design it, and my father-in-law built it. Without them, I couldn't have pulled this off. Each portrait has its own frame (solid oak), and then is displayed collectively in what could best be described as a checkerboard pattern. It can be hung straight, or wrapped around a corner like a hinge. It's pretty cool. When assembled, it's just over 16 feet long and about three feet tall.
_______