Formal wedding portrait
 

Hi,

I'll be meeting with a new client next week to discuss a formal wedding portrait of the bride and groom, complete with train, veil, tux, the whole thing. Does anyone have any tips or gems of wisdom to offer on this very ambitious project? I've done some looking at how other artists handle "white" and will try to have the dress here and posed (on a dress form). Are there any particular artist's work that would be helpful?

Jean

One of the most important factors in the success of this project will be getting the very best reference photos (or life sittings) you possibly can. Work with the couple carefully on where they'll be posed, what the lighting will be like, etc.

Here's how I plan a photo shoot. At the inital meeting with the client we choose two or three locations, at the most. (ie. in front of the fireplace, outside under a tree, whatever).

These locations need to have the lighting you want or you'll need to bring your own. Plan where you will shoot from and don't move yourself or them from that spot.

Then, on photo shoot day, shoot at least 100 photos of them in each location, with you always shooting from the same height and angle and them standing or sitting in the same spot for all the photos. This is so you can combine faces, hands, etc. later if needed.

If these details are shot from different angles or with the light coming from even a slightly different direction it won't look right when you try to use the bride's hand from photo 70 with her body from photo 71, for example.

Be sure to shoot lots of closeups of faces and hands, too.

As far as painting white, look at Sargent's work, and many of the artists on SOG, too. One of my favorite artists for outdoor paintings of white clothes is Hongmin Zou.

Good luck and have fun! Keep us "posted" on how this project progresses.

Jean,

I would consider scouting out the church (or a church) prior to the shoot. They often times have some interesting windows and interesting light. I would scout the light indoors.

You may also consider hiring a photographer to do the shoot. Meet with him prior to the shoot and describe your purpose. There's no law that says it has to be your camera and you have to pull the trigger. Of course you would have an understanding regarding the ownership of the images.

When the time comes you can spend your time directing the scene, checking for all the little details of hands, hair, etc., and leave the technical stuff to the pro.

As Michele said, make sure he understands that you need a close-up of each full composition.

Thanks much
 

Michele, I'll print this out to remind me to cover all the bases. I haven't looked at Sargent yet, but have looked at many SOG artists. Thanks for the suggestion.

Mike, good idea. My photography skills are somewhat lacking--think I'll talk to the photographer. I expecially like the idea of scouting out the church. My husband and I were married at a church designed by Frank Lloyd Wright here in Madison. If I were to do a painting of our wedding, the architecture would outshine the main subjects!

Jean:sunnysmil

Good meeting
 

Hi, everything went well. I have a down payment, photo shoot in early Sept. and enough info to do a value study and plan the composition. I'll be visiting the church, and trying to remember everything I've learned here!

Jean

Before the photo shoot you may want to review SOG portraits of couples for pose ideas (especially for what they can be doing with their hands, always an issue when I photograph someone!)

I find I can't do value studies until after I get the photos shot and have reviewed them to see which ones I want to show the client.

I typically show clients half a dozen face options and half a dozen body pose options. I make very sure before I do this that the faces will go with the bodies properly (same lighting, angles, etc.)

I only show them photos I would really love to paint, and not any that would be difficult because there might be stuff I'd have to invent or fill in. Those never get shown to the client.

For future reference: at the photo review appointment I have the clients literally initial the photos they choose, so there's no confusion later.

Have fun and let us know how the photo shoot goes!

Thanks Michele
 

These people are really fun, I know I'll have a good time with this. I'll be in touch!

Jean

For what it's worth, I do have a Bridal Gallery on the site: http://www.portraitartist.com/bridal.htm

Only one is of the bride and groom.

Thanks Cynthia
 

I've already been there, as well as looking through the women. I'll visit couples next. You truly do have a remarkable group of artists. I've already planned the composition, based on interior shots of the church that they brought with them. I'll be drawing it up to scale to make sure my canvas size will work. Her dress is all beaded, at least the veil is fairly simple. I'm looking forward to this.

Jean

Jean, just FYI: I usually plan two or three different compositions (different settings, different lighting) in case some unforseen problems come up with poses, shadows etc. Then there will be some alternatives to choose from and we won't have to schedule a separate shoot. Just something to think about.

Jean,

Consider that depending on the time of day you visit the church the light can be quite different. Ten AM, three PM, very different.

On your first scouting visit notice the facing direction of the windows, whether facing the morning or the evening sun. It would be good to bring someone with you so you can see how the light falls on their face. You could take some photos of your test person to help you plan your background composition.

Then you can coordinate the actual time of the photo shoot with what you know to expect.

Thanks Michele and Mike
 

Michele, my overactive brain has already composed several alternatives, and after visiting the church there may be more!

Mike, your input on photography is always appreciated, I'll do as you suggest. Can I bring my grizzled husband as my model?

Jean

One composition down
 

Hi,

I'm messing around and did a quick sketch to scale. The canvas size will be 24x36. I wish it was larger but that's what will fit on the wall. If I put everything they want in the painting, full size figures with train, including cross and candelabras, the head size of the figures will only be 2.75" long.

The sketch is drawn to a quarter inch scale (.25"=1.00"). Now I need to talk to them about alternatives. If I proceed with this idea they will have a painting of a dress, not the bride and groom. Now I wish I had done the scale drawing while they were here, but this is a workable problem. It can be solved easily if they will give up the train.

Jean

It's boring anyway.

Jean, I really hope you can talk them out of this composition. At 2.75 inches for the head sizes it will be VERY hard to get any kind of likeness. I don't think I could do it, and I wouldn't try. You're right that it will end up being just a painting of a dress (even if you crop out the train and get a slightly larger head size).

I hope you can convince them to make this truly a portrait instead of a figurative painting of a generic bride and groom. A three quarter length composition with less emphasis on the stuff around them will be far more personal and give you a much greater chance of success with the likenesses.

The smaller the head size the harder it is to get a likeness. A sixteenth-inch error on an eight inch head can be a problem. On a two or three inch head it can be a disaster.

Here's something that might work. I've moved the candles in behind them and lightened the lower end of the cross. It will be enough of a suggestion to remind them that those objects were there without being a literal "and-here's-the-cross-that-was-on-the-wall-and-here-are-the-candle-holders" kind of thing. The focus will then be on the main subjects.

Thinking ahead
 

Michele,

I don't think it will be a problem to change. I should easily be able to convince them otherwise. I want at least a 6'' head, preferably 7". I sure I can come up with a better one. I remember doing the portrait of Dean and Bear, and having to wear magnifying glasses the whole time. I don't believe in torture anymore! I'm glad I did the sketch.

Jean

Another sketch
 

I'm going to do another one starting with 6.5" heads this time and see what else will work. Why not start with the most important thing first?

Jean

Just a thought from the peanut gallery: Why not a more intimate shot of the two of them, face-to-face, as though they were saying their vows? Maybe he could be placing the ring on her finger. If he's taller, she would be looking up into his eyes. It could be nice. Or if they're like me and my wife, he could look up into her eyes. Nah!

Personally I don't like the idea of allowing the client to pick and choose from a menu of things which might be included in the composition.

A small memento sitting on a coffee table is one thing, but generally, if I can't see it in the scene with the subjects with all the local atmosphere, I don't like it.

When I think of a church I think of space and volume, distant architecture, maybe a stained glass window. But all this would be a mere suggestion and much subordinated to the subjects.

There is a trap being set for you, it is to be the all inclusive story teller, including all these symbolic items suggesting what has taken place. There won't be any question about what took place, when it took place or where it took place.

I think the answer lies back at the church, composing the scene (mostly the light) through the lens or through a home made view finder like the one Steven made with two pieces of old mat board.

The hand in the pocket just bothers me - too casual for such a formal setting. How about dropping the bouquet and having them holding hands?

My thanks to all of you
 

Such great advice, I'll be taking all of it.

Mike, right now I'm staying away from the church as the students are moving out and moving in, and the main road to get there is under construction. Downtown Madison is a mess right now, but next weekend should be better. It's the worst I've ever seen it! I'd like to somehow include the candlabra and candle light instead of the vastness of the church. I'd like to present them with a knockout composition that will make them totally forget about the train!

Jeff, I want someting more intimate also. That's the next sketch.

Michael, don't worry, his hand won't be in his pocket. This sketch is only to demonstrate how small the head size will be and how overpowering everything else is.

Jean

Generic bride and groom
 

Hi finally,

I think the latest e-mail virus may have messed with our computer and I wasn't able to post for a few days.

I've spoken to my clients and they've agreed to go with a three quarter pose. Faces are more important than the train.

This sketch is very generic but will at least show them how much of the bride and groom will be in the painting. I'll get the special tilt of the head and interaction when I photograph them.

Jean

Much better. Everyone will be happier with this pose.

Update
 

Hi all, I'll be starting this soon and have appreciated the info offered here, thank you all. I won't be able to post this as a WIP due to privacy issues. After it's complete I'll see if I can get permission to post it as an unveiling. If I run into problems, I'll try to post questions as "generic" problems! ;)

Jean