Control and Precision

The complexities of the figure are simplified in Daniel Maidman’s four-question approach.

I paint in a number of different modes depending on my goal with the painting in question. One of my frequent goals is the vivid depiction of the human figure. To meet the degree of specificity and detail I seek in this type of work, I need a lot of control. To establish that control, I have developed a very precise set of techniques. These techniques are not unique to me, but my own application of them illustrates their use in the creation of the kinds of figures I depict. In this article, I will illustrate the application of my techniques to painting an over-life-size portrait.

Why do I want so much control and precision? Because the figure is so complex. What we directly see of the figure is the skin, but I am also interested in the contributions that bone, muscle and fat make in affecting the skin and defining the superficial forms visible to the eye.

In order to depict the figure in this sense— from surface to core—it is necessary to tackle several questions:

1. How do we depict skin color—in its variation from reddish areas full of superficial capillaries, to yellow areas characterized by subsurface fat deposits?

2. How does skin color interact with light and shadow?

3. How do we depict skin texture—rough and smooth areas?