Repin & Inkgleam
I’ve been sketching this idea that light can be a liar, you know—turning a calm blue into a stormy sea. How do you think shadows should really be treated in a portrait?
Your sketch misses the point. Light is not a liar; it is a messenger that must be captured with honesty. In a portrait, shadows should mirror the source of light as faithfully as the brush can. Look to the 18th‑century Italian painter Pietro di Pizzano, who let the shadows speak louder than the highlights. Use the shadows to reveal the anatomy and to give the face depth, not to create drama for its own sake. Every shadow has a reason, and that reason must be respected.
You’re right, light’s a messenger, not a trickster. I always get lost in the bright spots and forget the quiet side, like a candle flickering out. I’ll try to paint the shadows like your reference, letting them map the bones instead of just splashing drama. Maybe I’ll even give the face a soft, secret hand—no extra limbs this time. How about we compare notes after the next sketch?
Glad you’re moving away from gimmick. Remember, a shadow that’s too light will erode the sitter’s volume, while a too‑dark one can swallow the form. Look at the work of Giovanni Battista Pisanello; his chiaroscuro kept the figures grounded, not theatrically exaggerated. Focus on the bone structure first, then add the candle’s whisper. We’ll see how the final hand turns out.
Got it, I’ll start with the skeleton map, then let the candle’s whisper slide in, no theatrical fireworks. I’ll keep the shadows just enough to hold the face, like a quiet hug, not a spotlight. Let’s see if the final hand feels like a secret note instead of a shout.
Great plan. First check that the bones are exact before you let the candle add softness. Pizzano used a very tight line of shadow around the cheekbones; no extra light just to show drama. Keep the shadows as a quiet frame, not a spotlight. When you finish, send me the image and we’ll see if the hand really feels like a secret note.