Use of borders and type in portraits

[Joan Breckwoldt]

Dear Chris,

What a wonderful use of a background and border together. And of course the skintones on your subject are beautiful. I have just spent the last couple of hours with your book trying to figure out where I went wrong on my latest attempt which is posted in WIP. Actually, I painted the face today and I'll post it tomorrow when there is some daylight, it's almost 11:00 p.m. now and time for me to take a break from the difficult subject of skintones!

Dear Linda,

Having a young son myself I really love your painting, what a clever idea. I was actually looking at your homepage 2 nights ago and came across that painting and I did wonder how you painted that type? I have plans (always plans) to paint some type on the wall in our den and thought about somehow projecting the type onto the wall. I would be curious to know how you painted that type. I love type too! I used to be a graphic designer and love all kinds of paper, pens, etc., there's nothing like a stationery store!

What awesome examples you have both posted, thank you! I hope we see more. The caliber of artwork on this forum is so high.

Joan

[Linda Brandon]

Here are two early examples of lettering on paintings:

Richard 111, Oil on panel
Unknown artist, inscribed 16th century

and

Mary Throckmorton, Oil on panel
Marcus Gheeraerts the Younger, 1614

[Linda Brandon]

I'll enlarge the lettering below (when I post these, the attachments refuse to reverse themselves in correct order, sorry about that). The Richard 111 painting combines a top scroll border with lettering:

[Carol Morimoto]

Dear Linda:

The border type examples are beautiful. I too am very interested in learning additional details about how these are done. For example, are they hand drawn, do you project the text, create stencils, use transfer paper, or is there some other magic you have to share with us?

Thanks from a new member who is anxious to learn.

Carol Morimoto

[Linda Nelson]

To get the type on the painting I -

completed the painting without the type, then photographed the painting with my digital camera and downloaded the image into photoshop. I sized the image to fit the actual size of the painting. From there I wrote the type in sections ( each phrase separately) then arranged them around the painting for a general fit. Then I started experimenting with which type face I liked the best, as well as size and kerning, etc. I also played with the value to get an idea of how pronounced the type will be. Since I was working in the actual size of the painting, the type sizes were huge. When I had it all established, I printed out the copy in sections in simple black text on white paper. I used these to then arrange for real the type on the painting, taping the paper to the canvas. I used this step to rearrange the phrases on the canvas still, since the impression you get on the computer screen is different from when it's "for real". (If you do this, also keep in mind how much canvas will be covered by the eventual frame, as that will affect the type feeling too cramped or not next to it). Using carbon paper I traced the type onto the canvas. From there it's just a matter of painting the type as you want it, and in my case I varied each phrase in similar values or blue grays and brown grays, and as I mentioned, lightened or darkened the type to keep a value relation to the changing background the same.
It was pretty simple to do. Hope this helps!

[Carol Morimoto]

Thanks so much for your speedy reply. It was a huge help and I look forward to employing your method. In the past, I have played with using text on some paintings, but never with the professional result you have obtained. With your advice, I'm sure I'll do better in the future.

Carol

[Linda Brandon]

Here are two beautiful examples of borders, posted here by permission of SOG artist Paul McCormack: