2007-05-30 11:45:59.0
Administrator: Welcome to an online chat with Dawn Whitelaw, an acclaimed portrait painter and instructor who has been highlighted in Workshop magazine. Ms. Whitelaw helps our readers each month through free critiques on our website. Feel free to ask her some questions and to join in the discussion about identifying and fixing problems in your paintings.

2007-05-30 12:00:06.0
Administrator: Welcome to an online chat with Dawn Whitelaw, an acclaimed portrait painter and instructor who has been highlighted in Workshop magazine. Ms. Whitelaw helps our readers each month through free critiques on our website. Feel free to ask her some questions and to join in the discussion about identifying and fixing problems in your paintings.

2007-05-30 12:00:44.0
Administrator: Welcome, Dawn.

2007-05-30 12:00:52.0
Dawn Whitelaw: Hi everyone.

2007-05-30 12:01:06.0
Administrator: I’ll kick things off by asking Dawn exactly how she looks critically at a painting, whether its hers or another person’s. What are some of the things you look for?

2007-05-30 12:01:50.0
Dawn Whitelaw: First, I try to walk away from my own preferences and tastes.

2007-05-30 12:02:12.0
Dawn Whitelaw: I look for problems with the drawing, problems with composition, edges, color, values. That is my checklist for my own work.

2007-05-30 12:02:28.0
Dawn Whitelaw: And all I can offer someone is what I would do if I were to step up to the easel with my brush in my hand. I treat a critique of someone else’s work the same as I would my own painting. It's all I can do.

2007-05-30 12:03:32.0
Administrator: So is that what you tell your students to do?

2007-05-30 12:03:58.0
Dawn Whitelaw: Yes, I usually give an expanded version of this checklist in my class. I may say, Is there a color that is not harmonious? Is there a dominant color? Etc.

2007-05-30 12:04:49.0
Dawn Whitelaw: I try to make those questions hold true for a painting regardless of style--whether it's loose or tight--or regardless of subject matter.

2007-05-30 12:04:42.0
NE: I have a question: A portrait I am working on just isn't turning out right. I think it’s a drawing problem. How can I figure out what the problem is? Should I just start over?

2007-05-30 12:05:37.0
Dawn Whitelaw: For drawing problems, the time-honored methods are to check in a mirror, look at it upside down, and look for symmetry.

2007-05-30 12:06:06.0
Dawn Whitelaw: The time to start over is if you have lost passion for the painting. If you have lost passion for it, scrap it.

2007-05-30 12:06:44.0
Dawn Whitelaw: A layman's eyes are very good for finding problems in a drawing. A layman has a good idea of what the natural world looks like, and will know if something is out of proportion.

2007-05-30 12:07:16.0
Dawn Whitelaw: The trick is, if someone says they think the nose is too long, you have to examine whether the nose is truly too long or if you need to change something else.

2007-05-30 12:07:31.0
NE: Thanks! I'll get over my fear and let others look at it. Yeah, that makes sense.

2007-05-30 12:08:33.0
Dawn Whitelaw: I'm apt to take a piece of charcoal and do a little bit of drawing on top to correct it. Once I'm satisfied, I'll brush most of it off and start to paint again.

2007-05-30 12:09:07.0
Dawn Whitelaw: Also, almost every brushstroke I lay down is a drawing stroke. So making the last few strokes improve the drawing is my natural state.

2007-05-30 12:08:44.0
Phyllis Franklin: I've never done a portrait and am going to do one... I have the sketch layed out http://paintinglessons.blogspot.com/ Is this composition too difficult or do you see problems with it right up front?

2007-05-30 12:09:45.0
Dawn Whitelaw: Phyllis, I'll look at that later and respond, if that's OK.

2007-05-30 12:10:09.0
Phyllis Franklin: Thank you so very much Dawn.

2007-05-30 12:09:29.0
Julie: Regarding composition, I find it difficult to select a background for a portrait. What's a good rule of thumb for color choice, and/or setting?

2007-05-30 12:10:25.0
Dawn Whitelaw: Julie, I would consider the value of the background before I consider the color. Decide what value points up the head in the best way.

2007-05-30 12:11:14.0
Dawn Whitelaw: For instance, if you are painting a man with a bald head, then a dark background would put the emphasize on the dome. A lighter tone puts the emphasis on the features.

2007-05-30 12:12:01.0
Dawn Whitelaw: Temperature is next. That's based more on a feeling than a rule. If I want the overall ptg to be warm or cool...

2007-05-30 12:12:21.0
Dawn Whitelaw: I see more cool backgrounds than warm because the skin tone is generally warm, so it's used for contrast.

2007-05-30 12:13:09.0
Dawn Whitelaw: Finally comes color. That is based on what I visually see. Maybe it's the relation of the shadow color to the lit flesh, or something I see in the background that I want to play off of.

2007-05-30 12:10:23.0
ruthann: The problem that I have, is that when I show work to fellow artists, they never offer up constructive criticism, even when I ask for it...they just want to hand out compliments and that doesn't help me.

2007-05-30 12:14:18.0
Dawn Whitelaw: ruthann, ask them specific questions, such as, do you think the sky is too dark? Do the features seem to line up? Do you see a drawing problem? Often, you have a general idea of where a problem is. Ask a specific question to pull this out.

2007-05-30 12:10:43.0
Jenny: Dawn, I notice that sometimes your backgrounds are very in-depth and sometimes they're very abstract. Is that something you discuss with the client?

2007-05-30 12:15:19.0
Dawn Whitelaw: Jenny, generally I don't discuss it. Sometimes they give me a preference and I look very closely at that. I always give them an idea of what the background will be, but I don't ask them the question in the beginning.

2007-05-30 12:10:48.0
Betty Bishop: can I paint over several year old not thickly painted paintings or will the new paint fall off?

2007-05-30 12:16:19.0
Dawn Whitelaw: betty, I can't guarantee that the new paint won't fall off, but the best way to make the new layers adhere is to take sandpaper and slightly abrade the surface, dust it off carefully, and then apply new paint to that. Be careful not to use a lot of medium in the new paint. I'm talking about oils.

2007-05-30 12:11:03.0
Deborah: I paint from photos. Is a photo with high contrast better than one with low contrast?

2007-05-30 12:17:10.0
Dawn Whitelaw: Deborah, a photo with low contrast where you can see a range of values will be better. With digital photographs you can get a real nice range of values, especially on a computer screen rather than a print.

2007-05-30 12:17:47.0
Deborah: Thank you Dawn. Are you saying keep the photo on screen as a reference while you paint?

2007-05-30 12:21:20.0
Dawn Whitelaw: Deborah, yes I do. In fact, I will put several different reference photos, slightly different angles, in a slide show and let it run.

2007-05-30 12:21:29.0
Dawn Whitelaw: That's using iPhoto, on a Mac.

2007-05-30 12:12:58.0
Deborah: Dawn, what are the major problems you see in portraiture?

2007-05-30 12:18:16.0
Dawn Whitelaw: Deborah, the problems are over-modeling--too much contrast in the areas of the face, especially around the nose and mouth area. Artists seem to rely too much on value in the forms instead of color changes.

2007-05-30 12:18:29.0
Dawn Whitelaw: That's the biggest problems I see when I review portfolios.

2007-05-30 12:19:29.0
Dawn Whitelaw: for instance, the side planes of the nose are often represented by dark values, but if you used a slightly cooler version of the color you wouldn't be relying on value as much.

2007-05-30 12:20:25.0
Dawn Whitelaw: Another example: In a crease that forms alongside the nose and mouth when someone smiles, I often see it represented as a dark line, but if it were represented by a warmer color--no more intense in chroma--it would look better.

2007-05-30 12:15:09.0
lhputnam: I am only starting to study portraiture, and have difficulty with over emphasizing features. Is that more likely a problem with my edges or too much contrast?

2007-05-30 12:15:54.0
Administrator: You have joined a chat with Dawn Whitelaw, an acclaimed portrait painter and instructor who has been highlighted in Workshop magazine. Ms. Whitelaw helps our readers each month through free critiques on our website. Feel free to ask her some questions and to join in the discussion about identifying and fixing problems in your paintings.

2007-05-30 12:18:07.0
dutchoils.com: Hi Dawn, I just joined so don't know whether this has been asked yet- when working from photos, how would you avoid creating an image that seems too much like a still snapshot if you know what I mean? Or is it a bad habit to use photos altogether, really?

2007-05-30 12:22:29.0
Dawn Whitelaw: DutchOils, I have to use photos because I have a limited time with my clients. I rely on observation, sketches, and try not to slavishly copy one photo, and remember that I am just referring to them.

2007-05-30 12:21:20.0
Sneezy: Hi Dawn. What if you have trouble seeing your problems? Any suggestions on getting a fresh perspective?

2007-05-30 12:22:20.0

lhputnam: Do you begin your paintings with an overall toned canvas, tone in shadow areas only, or simply dig in and start painting?

2007-05-30 12:23:26.0
Dawn Whitelaw: Ihputnam, I build it on a toned canvas starting with a pattern of darks and lights. I work over the whole canvas all the time, trying very hard not to focus on one area.

2007-05-30 12:21:41.0
Donna Shoberg: Hello Dawn, do you paint a detailed underpainting with a portrait, and if so, what color paint do you choose?

2007-05-30 12:24:10.0
Dawn Whitelaw: Donna S, it is not detailed. It's a very broad statement of the big masses.

2007-05-30 12:24:18.0
BeautifulArt: When you say you try not to focus on one area, are you saying you do not start with the eyes or some other prominent feature?

2007-05-30 12:25:32.0
Dawn Whitelaw: BA, that is exactly correct. I feel like the likeness is in the skull, and not in the features. Proportions, gesture...you can recognize someone from quite a distance away without seeing particular things about their features.

2007-05-30 12:24:19.0
Alli: Dawn, my paintings of my niece seem too harsh in the face. How can I soften the features and skin to emphasize the charming qualities of her skin? P.S. Hi Lori!

2007-05-30 12:26:51.0
Dawn Whitelaw: Alli, try modeling in temperature changes and color changes rather than values and sharp lines. Consider the range of values in a live person, not a photograph. Also, see if any edges can be softened.

2007-05-30 12:27:14.0
Dawn Whitelaw: The tendency is to hyperfocus on an area, but you must look at each edge in terms of all the edges in the face.

2007-05-30 12:25:07.0
Deborah: Dawn, I have the same question as Alli -- I paint in watercolors. Is this what you referred to earlier regarding contrast vs color shift?

2007-05-30 12:27:58.0
Dawn Whitelaw: Deborah, my experience in WC is too limited to offer advice here. I'm sorry!

2007-05-30 12:28:29.0
Deborah: Dawn, no problem. You have offered extremely valuable advice -- thank you!

2007-05-30 12:26:26.0
lhputnam: And, as with Alli and Deborah, the harshness on my paintings means it looks like the subject is pasted on rather than existing in the space.

2007-05-30 12:28:58.0
Dawn Whitelaw: lhputnam, without seeing it, i'm guessing it is about edge and value. From the tip of the nose, everything moves back in space on the head. That's the most prominent point in the face. You may have to use a temperature shift and make it cooler to make the head recede.

2007-05-30 12:27:35.0
lhputnam: I notice you paint a lot of children's portraits. Are they more difficult?
2007-05-30 12:27:38.0
Deborah: Dawn, any suggestions for loosening up?

2007-05-30 12:30:03.0
Dawn Whitelaw: Deborah, two things: use a larger brush, and keep the focus on the painting as a whole, so you don't work in relation to one little area on the painting.

2007-05-30 12:29:18.0
ugo: Hello, I read in somewhere that many portraits have a little touch of caricature, like a way to catch the character across the emphasis in specific features of the model (some works of Ingress and Goya, for example). What do you think about this?

2007-05-30 12:32:09.0
Dawn Whitelaw: ugo, I think there is a touch of caricature in portraiture, but I look at it a little bit differently. I write down when I start a few things about a person, then when I'm almost done, I go back and read this list. If I wrote down that the person was very sweet and soft, I'll go back and make sure that my edges are soft. I go back and emphasize these notes on the sitter's character and appearance, so I guess in a way that is caricature.

2007-05-30 12:29:27.0
Betty Bishop: What mediums do you use with oil? Who do you think makes the best paints and brushes?

2007-05-30 12:33:27.0
Dawn Whitelaw: Betty B, I really don't use any medium. I'm not opposed to it, but the paint I use has a lot of oil in it. I use a very limited palette, three colors plus white, and I find fairly inexpensive red, yellow and blue, and they really don't require any medium. I Silver brand brushes, Grand Prix line. Filberts.

2007-05-30 12:29:57.0
lhputnam: Do you paint on linen or cotton? And, do you use the same type of canvas for other subjects as you do portraits? P.S. Hey back, Alli.

2007-05-30 12:34:01.0
Dawn Whitelaw: lhPutnam, I paint on linen or cotton, but I prefer an alkyd primed surface.

2007-05-30 12:30:23.0
dutchoils.com: Do you prefer to use a certain composition (triangle for example) because you know it is popular with clients and always works well?

2007-05-30 12:35:39.0
Dawn Whitelaw: DutchOils, No, I really try to look at each painting totally fresh. I'm not so concerned with pleasing the client, as terrible as that sounds. I find that if I please myself, the client is pleased. I find that I have a lot more freedom in residential portraits, which is mostly what i do. I do use the triangle composition, but it is not my intent. It just happens.

2007-05-30 12:30:51.0
Deborah: Dawn, you mean I should give up my number 2 brush? Yikes! I will certainly try your suggestions = )

2007-05-30 12:30:59.0
Administrator: You have joined a chat with Dawn Whitelaw, an acclaimed portrait painter and instructor who has been highlighted in Workshop magazine. Ms. Whitelaw helps our readers each month through free critiques on our website. Feel free to ask her some questions and to join in the discussion about identifying and fixing problems in your paintings.

2007-05-30 12:32:19.0
Deborah: Dawn, in general, what is the process you go through when painting a portrait -- including evaluating and problem solving. Thank you

2007-05-30 12:38:14.0
Dawn Whitelaw: Deborah, let me condense that as best I can. I try to head off major problems by making prelim drawings and sketches. This helps me make general decisions about composition. It also lets my client feel comfortable with me, because they can see what I'm planning. At the beginning stage when the paint is thin I try to work everything out so there are no surprises. I just take it as it comes. Also, I photograph the process, so if I get off track and lose vision, I can go back and find my way again. Chad Boyd gave me that tip.

2007-05-30 12:36:34.0
ugo: Thank you for your answer. Some of your portraits has a very free background. What is the reason for this?

2007-05-30 12:40:25.0
Dawn Whitelaw: ugo, that's a decision made early in the process. I feel only a minimum background was needed. i don't paint the head and then decide.

2007-05-30 12:37:55.0
Marilyn Hope: Dawn, how do you determine at what point of the body to crop the portrait without it looking awkward.

2007-05-30 12:39:32.0
Dawn Whitelaw: Marilyn, I try to make those decisions with the prelim sketches. I will experiment with these sketches. I'll work on a larger piece of paper, and experiment with cropping. I've heard that you should never crop at a joint of a limb, but I have seen a number of fantastic portraits in museums where that has been done successfully.

2007-05-30 12:39:29.0
Deborah: Thank you,Dawn -- I especially like the tip about photographing the process.

2007-05-30 12:40:21.0
asher: Getting back to something you said earlier: I understand what you're saying about the skull being the most important element, but if it's a closeup don't you think that it's imperative to get the mouth and eyes as correct as possible?

2007-05-30 12:41:24.0
Dawn Whitelaw: asher, absolutely, I am just very careful to prepare the painting so these fall into the skull in the proper places. I can paint a nose or eye or mouth. But it's very difficult to get that piece in the proper place in the head, in the proper angle.

2007-05-30 12:41:16.0
lhputnam: Do you have many portraits all going at the same time? Or is that confusing?

2007-05-30 12:42:34.0
Marilyn Hope: I've read how your landscapes have helped you with portraiture. Can you explain further?

2007-05-30 12:43:24.0
asher: Thanks Dawn, now I understand what you meant

2007-05-30 12:43:32.0
Dawn Whitelaw: Sorry, my computer just closed the browser window. Where were we?

2007-05-30 12:44:20.0
Administrator: I believe Ugo's question is next

2007-05-30 12:44:44.0
Dawn Whitelaw: Did my last response get posted? i work on several portraits at once, and it is confusing, but it allows me to set a portrait aside that I'm stuck on and come back to it with fresh eyes.

2007-05-30 12:44:57.0
Dawn Whitelaw: Admin, I lost all the questions when Firefox quit.

2007-05-30 12:45:25.0
Administrator: asher: Getting back to something you said earlier: I understand what you're saying about the skull being the most important element, but if it's a closeup don't you think that it's imperative to get the mouth and eyes as correct as possible?

2007-05-30 12:45:34.0
Administrator: Asher is next

2007-05-30 12:45:36.0
Deborah: Dawn, a basic question -- how do you know when your painting is completed?

2007-05-30 12:46:22.0
Dawn Whitelaw: Deborah, I wish I had the answer to that! I get to a point where i don't know what else to do. It may not be perfect at that point, but I don't know what else to do at that moment, so I have to let it go.

2007-05-30 12:46:46.0
Administrator: lhputnam: Do you have many portraits all going at the same time? Or is that confusing?

2007-05-30 12:46:50.0
Deborah: Dawn, do you let it go and wait or let it go?

2007-05-30 12:47:36.0
Dawn Whitelaw: Deborah, I usually put it aside for a while and then come back to see if I have anything else. If I kept them until I was pleased with them, I'd still have every painting I ever did.

2007-05-30 12:47:35.0
lhputnam: I'm with Marilyn. Explain how working on landscapes helps with portraiture? Is plein air work what you mean?

2007-05-30 12:48:42.0
Dawn Whitelaw: lhPutnam, yes. There's no doubt in my mind. When I started doing landscapes en plein air, my portraits improved radically. Landscapes definitely help with the portraits.

2007-05-30 12:49:30.0
Dawn Whitelaw: You have a short amount of time to get the effect. The ability to see the effect and get it down quickly has sharpened my skills in observation nd the ability to get it down quickly.

2007-05-30 12:48:00.0
Betty Bishop: Good question Deborah and good answer Dawn. I am finished when I say "I think that is the best I can do at this point in my life!"

2007-05-30 12:48:02.0
Deborah: Thank you, Dawn -- I appreciate your honesty = )

2007-05-30 12:48:08.0
BeautifulArt: Have you ever tried the water mixable oils for portraits? What did you think about them?

2007-05-30 12:50:17.0
Dawn Whitelaw: BA, Yes, I tried the Holbein brand, and I thought they worked quite well. I've just been using the other brands so long I was not interested in switching. I think the results look the same.

2007-05-30 12:48:35.0
Phyllis Franklin: Marilyn Hope had asked: I've read how your landscapes have helped you with portraiture.  Can you explain further?

2007-05-30 12:49:13.0
Deborah: Dawn, can you explain why the plein air painting helped?

2007-05-30 12:49:43.0
Deborah: Thank you

2007-05-30 12:49:51.0
Administrator: You have joined a chat with Dawn Whitelaw, an acclaimed portrait painter and instructor who has been highlighted in Workshop magazine. Ms. Whitelaw helps our readers each month through free critiques on our website. Feel free to ask her some questions and to join in the discussion about identifying and fixing problems in your paintings.

2007-05-30 12:50:35.0
ugo: I am specially a draftsman and for me is little difficult to paint with stains (I draw lines). Are there some tip for leave the drawing and start to paint really?

2007-05-30 12:52:12.0
Dawn Whitelaw: ugo, I think we naturally fall down on one side or another in the drawing process, mass v. line. I would embrace the fact that you enjoy working with line. At some point, when you have the line established, you have to move in and put in basic shapes. But you can work in lines a long time until you are sure the mood, composition, proportions and basic shapes are right. I have to start with masses--it's just my temperament.

2007-05-30 12:50:38.0
asher: Do you ever use anything like the grid to make sure your element are in the correct place, etc?

2007-05-30 12:56:32.0
Dawn Whitelaw: in regard to the use of a grid, I rarely use one. I do a better job using angles and some basic measurements. for me, a grid just takes a long time.

2007-05-30 12:57:31.0
Dawn Whitelaw: I can draw it quicker freehand than I can using a grid--but it's not like I'm opposed to a grid.

2007-05-30 12:50:49.0
Marilyn Hope: Do you mix brands of paint?

2007-05-30 12:53:08.0
Dawn Whitelaw: Marilyn, I do. I don't think it's much of a problem with oil paints. Most of the oil paints are made with similar pigments and binder. I am no expert, but I'm comfortable mixing brands.

2007-05-30 12:51:19.0
Phyllis Franklin: Do you have any special tips on painting children?

2007-05-30 12:54:46.0
Dawn Whitelaw: Phyllis, children are much more difficult to paint than adults. The changes are so subtle in their faces, to paint that and still have them look solid is difficult. I get so much good information from painting from life--I encourage you to give that a try.

2007-05-30 12:55:26.0
Dawn Whitelaw: They sit still better than you would imagine. I try five minutes posing, then five minute breaks. I think they will surprise you.

2007-05-30 12:51:27.0
lhputnam: Are there ways to identify problems in my work? Sometimes, I just know something is wrong, but have no idea what. When that happens I'm tempted to just pitch the whole thing.

2007-05-30 12:55:15.0
Phyllis Franklin: Thanks Dawn.. will do.

2007-05-30 12:56:14.0
Phyllis Franklin: I think it must be so much easier if you know the child rather than just being a client... right?

2007-05-30 12:59:11.0
Dawn Whitelaw: Phyllis, if you know the sitter it always brings something else to the ptg. If you don't know the person, you have to make an assessment about them in a short time. With children you have to imagine who they will be in the future. There will be characteristics that are inherent; you get a sense of what they are going to look like when they are older. Look at the parents or the siblings. You want to get the characteristics of them that will stay as they age.

2007-05-30 12:57:28.0
Deborah: Dawn, what has been your greatest challenge in regards to portraiture?

2007-05-30 12:57:42.0
Administrator: Last question please.

2007-05-30 12:58:03.0
Phyllis Franklin: Palette colors please?

2007-05-30 12:58:21.0
lhputnam: Thanks so much for all the great info. I hope you'll do this again!

2007-05-30 12:58:33.0
Marilyn Hope: Thanks very much!

2007-05-30 12:58:40.0
Phyllis Franklin: Can we get a copy of the chat?

2007-05-30 12:58:46.0
Betty Bishop: mant thanks!

2007-05-30 12:58:50.0
Administrator: Don’t forget to submit your paintings and drawings to American Artist’s FREE critique service. Artwork selected for critique appears weekly on our website. Send your submissions to critique@myamericanartist.com.

2007-05-30 12:58:50.0
Jenny: Thank you!

2007-05-30 12:58:53.0
BeautifulArt: Thanks for the information and the inspiration!

2007-05-30 12:58:54.0
Deborah: Dawn, not a question, but I wanted to say thank you. You are a very talented artist and I/we appreciate you sharing your gift with us.

2007-05-30 12:59:13.0
asher: Thank you, very informative.

2007-05-30 12:59:55.0
Administrator: Feel free to continue your conversations in the Oil General Chat room on Artists’ Forum.

2007-05-30 12:59:59.0
Dawn Whitelaw: Thank you all for the great questions!

2007-05-30 13:00:12.0
ugo: Maybe my next question is out of the theme, but I have some problems to sell my artwork or to get commissions. I live in Colombia and only a few percent of the people have the money for pay the art. Do you know any strategy for persuade the posible costumers that is a good idea to buy art or ask an assignment?

2007-05-30 13:00:36.0
Administrator: And check the website for future online chats with great artist-instructors.

2007-05-30 13:00:40.0
Administrator: Thanks Dawn

2007-05-30 13:00:52.0
Barbaram: Do you ever use aklyds?

2007-05-30 13:01:25.0
Administrator: That's it everyone

2007-05-30 13:01:29.0
Administrator: Thanks again!