Utilizing models and reference in your paintings
Whether your goal is to become a fine artist or an illustrator, if you are planning to create finished, figurative pieces you more than likely will be utilizing models and props as tools of reference for your paintings. To give you an idea of just what goes into getting “good reference,” we will be taking a look at how two Watts Atelier trained professional artists, fine artist and Watts Instructor Meadow Gist and illustrator Michael C Hayes, utilize costumes and models for their work.
Michael C Hayes is known for his tightly-rendered, figurative fantasy illustrations executed in oils. To obtain the level of finish he desires in his pieces, Michael uses carefully planned photo reference. Michael’s photo shoots don’t actually begin with a camera, but rather with a pencil, as he explores composition and general lighting through simple, quick thumbnail drawings in his sketchbook.
Once Michael has a composition he likes (with a light source planned) he can begin taking his reference photos. Pulling from a large collection of costume pieces, armor, and props he’s build up over the years, Michael dresses his model (often times his personal friends) to the part, paying special attention to details that may seem inconsequential to others; folds of fabric will be taped or pinned into place to further emphasize their shape, armor pieces will be adjusted to catch the light at the right angle, and the model may be asked to turn as little as a fraction of an inch in order to get to the right shot.
All of these minor details may seem like “over planning” to the novice, but an image can only be as strong as it’s weakest aspect; by diligently working to get the proper details right in the photo shoot, Michael can ensure that that any potential problems are resolved before he begins to push the paint. The results of such a carefully-planned photoshoot show through in in both Michael’s preliminary drawings and final illustrations.
Watts Instructor and fine artist Meadow Gist takes her photo reference to a different level. Meadow is known for her painterly work (Inspired by the Russian Impressionist and Orientalists), often depicting romantic view of bygone days or the plight of the craftsman. Regardless of the subject, her work nearly always contains beautiful, historically-accurate costumes that greatly add to the narrative of the piece.
Meadow’s dedication to her craft shows through when you discover where she gets her reference costumes from: She makes them herself.
Meadow’s costumes aren’t simply generic “stockpile” costumes that she makes to have on hand, either. Her costumes are made specifically for specific paintings or for themed costumed poses for of her classes. As the heaviness of the cloth, the weave of the fabric, and specularity of the material can affect the highlights on the fabric and the folds in the drapery, she opts (when she can) to use the specific fabric that the costume would have been made from in the past.
All of the research, planning, and skill involved in this reference gathering go towards helping Meadow create paintings that can tell a story with the subject’s costume alone.
“Annie Oakley,” by Meadow Gist, 38×18, oil on linen panel
“Flapper,” by Meadow gist, 38×18, oil on linen canvas
Reference is a powerful tool for the representational artist, and the proper use of it can add otherwise unthought of details to an illustration or bring a special narrative voice to a painting. We hope that this peek into the processes of Meadow Gist and Michael Hayes has inspired you to push yourself not only in your paintings, but also in the gathering of reference for them.
For more information on Michael C. Hayes, please visit his website at artofmike.com
To view more of Meadow’s work, please visit her website at Meadowpaint.com
