Jenedy Paige has a serious drive for excellence in all aspects of her life. She has a passion for art and studied at BYU-Idaho with renowned artist, Leon Parson, and illustrator, Wade Hunstman. She graduated magna cum laude with a Bachelor’s of Fine Arts degree in 2006. She specializes in portraiture and finds the human figure the most interesting thing to paint. She has painted numerous portraits and still continues to learn from the process. She constantly seeks instruction from the old masters such as Sargent, Mucha, Waterhouse, Caravaggio, and Bloch as well as from contemporary painters. Her art has been displayed several times at the High Studio Gallery in Moorpark, CA and she is a part of the Daily Painters group. Her ultimate desire is to be able to use art to communicate with the world, and bring light, hope, and joy into the lives of others.
Some people believe in order to creation a realistic portrait, you have to start with a really good sketch. Unfortunately for me, sketching has never been my strength. I work much better with shapes and color. So instead of thinking of a portrait linearly, I see it as different shapes fitting together. So you'll notice with all my work that I don't spend very much time on the drawing. I just kind of rough in where I want everything, and get to work blocking in color.
The first layer of paint always seems to pick up some of the tone of the underpainting, muting all the colors. I let this first base dry a little bit, and it gives me a great foundation to work on for the rest of my painting.
You'll notice in this step how much brighter the colors go on, after I've let my underpainting dry. I love looking for all the different colors in skin tone, and I'm not afraid to put down purple, green, and blue if I see it. I've learned that real skin not just various shades of pink and brown!
After I block in shapes of color, then I'll spend some time calming things down, blending what needs to be blended, and making more careful color adjustments.
You'll notice that I continue to correct my drawing as the painting progresses. Sometimes I don't really begin to see the true relationships between the different features until I've worked on the painting awhile. So I correct as necessary, and draw as I go. I've also tried to preserve some transparencies in the white linen draping, hoping for a contrast between that and the opaque face.
At the last minute I decided to change my background from blue to green, and it made all the difference! I love how it created a compliment for the red, and then no longer competes with the blues in the drapery, bringing the whole piece together. Enjoy!