Introduction:This image be created as a request by my Grandmother; she required something for her dining space partition. I had plenty of things to choose from, other than I thought it would be nice to cover something that she could identify with. Instead of aim to create a photo-realistic or a cartoon-like image, I complete something in between, which I consider is a better style to have on a wall.

Concept:The first obsession I did was to have a look for some painting references, to increase inspiration for this kind of painting. I did a few tests, specifically thinking about the face (Fig.01, Fig.02, Fig.03, and Fig.04) and how I wanted it to be the focal point of the image (Fig.05, Fig.06). After trying several times, I decided to give it a bit additional of a uniform look, so that the picture was still powerful from a distance, as healthy as close-up. This was the the majority difficult decision for me. I’m so used to thoughts about how a picture would look from a closer view, such a screen or small print, whereas this artwork has been at first created for a DIN A3 print.

Color:The extremely first idea was to create a completely monochromatic image. My first attempt was black and white, but then I thought that an older-looking picture (Fig.07) would be pleasant. My Grandmother loves color, so I converted to practice with colors to try and make it more interesting. This picture has monochromatic lighting, which was a little flat, so that I didn’t overload the picture. I still kept in the heavy shadows, but this was a personal choice for this particular piece of work. I wanted white clothes so that they contrasted well with the rest of the image. I chose a warm palette to work with because it simply looks more relaxing, and the references that I had used as inspiration didn’t display any cooler colors at all in the clothing details. It is a very basic palette, and I didn’t use any color variation for the semi-darkness or the shadows.

Brushes:For this particular labor I have basically used a standard soft brush (Fig.08), which is very good to work with to cover large areas and to blend colors to make them seem soft, and too to keep the gradients very fluid. Another brush that I used a lot was the hard-edged brush (Fig.09). The hard-edged brush gives a lot of feel and a natural look plus feels to the painting. (‘Fig.08’ and ‘Fig.09’ demonstrate the exact settings that I used for pretty much everything.)

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