By creating one’s portrait, I do not just try to capture the subject’s likeness, to preserve the moment; I attempt to capture the subject’s soul, while adding a fragment of mine.
I have been creating portraits for quite some time. Each one is a unique experience. I could paint the same person, use the same materials, and even follow the same process; yet the results would still be different. This happens more in live portraits due to the greater amount of variables involved.
Live portraits on location are not easy to do, yet they are unparalleled in terms of learning opportunities and freshness. The pressures involved forces one to work at the highest level of skill, with fewer materials and settings that are far less conducive than the studio. The time is limited, too. In the studio, an artist can use different tools and methods to capture the subject’s likeness. On location, one needs to rely more on the ability to see, both literally and figuratively. As one of my mentors would often say, it literally puts one to the test, especially if the model / sitter moves around. The ability to make one’s studio and on-the-spot work consistent also serves as a testament of the artist’s skill, as many artists who can make astonishing studio portraits lack the ability to do live portraits.
As much as painting from a photograph in the studio may seem more convenient, I prefer painting from life or on location a lot more. I love the thrill of capturing the person’s character given the conditions mentioned above. It also helps me prevent overdoing the artwork, as I often unconsciously do especially in the studio. As Mr. Davy Lim of the Place du Tertre artists says, one needs to keep it fast and fresh. Capturing the exact likeness can be challenging though, as there is very little time to get all the measurements right, especially if the sitter moves around a lot. The least I could do is to capture the sitter’s impression or character. The spontaneity of the artwork however sets it above the usual studio portrait. Painting from life also seems to allow me capture the sitter better than relying from a two-dimensional image.
As one who does not have an art degree, I was able to acquire my live portrait skills primarily from my mentors and colleagues in 2Q Artists Philippines: Mr. Romeo Montes, Mr. Jeffrey Consumo, Mr. Abelardo Lovendino, and my good friend Froilan Galpo. We did dozens of live portrait sessions together when the group was still active. I also learned a great deal from the pillars of Philippine Pastel Artists Inc., Mr. Alvin Montano and Mr. Julius Legaspi, as well as the group’s demos and workshops that featured notable artists. Among my biggest influence and inspiration are the artists of Place Du Tertre artists square: Mr. Davy Lim, Ms. Agnes Fabricius, Mr. Svay Teng Denis, among others. Mr. Lim was fond of uploading their videos on YouTube and I had the chance to get in touch with him via Facebook. Recently I have acquired a copy of Andrew Loomis’ Figure Drawing for All It’s Worth, and I am still studying his methods.
As for my favorite live portrait medium, I always prefer using pastels and pastel pencils. My rig was inspired by the materials used by the Place du Tertre artists. Most of my earlier training involved using oil pastel on felt. I have yet to try other mediums on live portraits.
My journey to refine my live portrait skills continues. My dream is to become part of the pemiere portrait societies in the country, or even the Place du Tertre artists in the future. My dream seems farfetched, but it gives me a sense of direction and intense motivation. The COVID-19 pandemic and the inactivity and eventual disbandment of the 2Q Artists Philippines really hampered my efforts. I practice in the studio but copying from a photo, even when trying to keep it fast and fresh just could not create the same experience. It’s not just the challenge and sense of accomplishment that makes it fun, but the opportunity to meet more people, the smile on the sitter’s face upon seeing the finished work, and the quality time spent with my fellow artists and mentors that make everything worth it.
Sining ni Sing 