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Not many thoughts, mostly just Adam Driver's regal profile and some pretty colors.
I loved the dreamy quality of this reference. It's softly blurry, Adam's face and gaze pulled to one side. There's some very understated photographic expertise at play (something something aperture size, something something focal depth) the end result being that the only part of his face in any sharp detail is his profile. The softness of the focus on the rest of him means that our eyes are pulled to run down the edge of his face along his brow, nose, mouth, and chin.
Even the pose feels unfocused. In most profile photos of Adam there's a sense that, even though he's not looking at the camera directly, he's still watching it using his peripheral vision; he's still paying attention. But in this one he isn't just turned to the side, he's turned almost completely away; we can see the outer corner of his eye, but not the inner, and not even the barest hint of the edge of his iris is visible. The force of his attention is directed elsewhere, allowing us to take our time gazing at the strong sweeping lines of his neck and jaw, stopping to appreciate the fugitive glimpse of his earlobe along the way.
And then there's the colors; the warm blues in the highlights of his hair gently complemented by the peach of his skin and the yellows and oranges highlighting his neck, jaw, and that soft white t-shirt. It calls to mind the sleepy golden hour of the late afternoon, when the world is held quiet in that honeyed glow.
Photo used for reference was taken by Lucille Boiron for the Cannes edition of Liberation France published on 5 Jul 2021.
About 6 hours of painting time for this one. The colors are the result of 6 different color overlays above the underlying monochrome painting.
I loved the dreamy quality of this reference. It's softly blurry, Adam's face and gaze pulled to one side. There's some very understated photographic expertise at play (something something aperture size, something something focal depth) the end result being that the only part of his face in any sharp detail is his profile. The softness of the focus on the rest of him means that our eyes are pulled to run down the edge of his face along his brow, nose, mouth, and chin.
Even the pose feels unfocused. In most profile photos of Adam there's a sense that, even though he's not looking at the camera directly, he's still watching it using his peripheral vision; he's still paying attention. But in this one he isn't just turned to the side, he's turned almost completely away; we can see the outer corner of his eye, but not the inner, and not even the barest hint of the edge of his iris is visible. The force of his attention is directed elsewhere, allowing us to take our time gazing at the strong sweeping lines of his neck and jaw, stopping to appreciate the fugitive glimpse of his earlobe along the way.
And then there's the colors; the warm blues in the highlights of his hair gently complemented by the peach of his skin and the yellows and oranges highlighting his neck, jaw, and that soft white t-shirt. It calls to mind the sleepy golden hour of the late afternoon, when the world is held quiet in that honeyed glow.
Photo used for reference was taken by Lucille Boiron for the Cannes edition of Liberation France published on 5 Jul 2021.
About 6 hours of painting time for this one. The colors are the result of 6 different color overlays above the underlying monochrome painting.
