Carmella M.'s profile
I, Carmella M. (Clifford) Fifty, grew up near Towson, Maryland.Although having sketched my entire life, I only started formal art training as a senior at Loyola College. A degree in biology with interests in medicine and art led me to investigate a career in medical illustration. On the advice of Ranice Crosby, the director of Medical Illustration at Johns Hopkins University School of Medicine, I studied watercolor with Fredrick Schuler Briggs, attended a year at Schuler’s School of Fine Art, and took several courses at the Maryland Institute College of Art. I entered the medical illustration program at Hopkins in 1980. There I earned the Annette S. Burgess Award for Ophthalmological Illustration. Working with Dr. Paul Manson, my thesis adviser and world renowned plastic and reconstructive surgeon, I discovered my passion and career specialty, maxillo-facial reconstruction.
Upon graduation in 1982 with a Master’s degree in Medical and Biological Illustration, Ranice Crosby hired me as an ophthalmic illustrator. Three months later, I became the illustrator for the Department of Plastic and Reconstructive Surgery. After six years at Hopkins, I continued with the Department of Plastic Surgery as a freelance illustrator. I became president of the Chesapeake Bio-communicators and a Fellow of the Association of Medical Illustrators.
My career took a back seat to my family after I married and gave birth to my second son. I re-entered school - volunteering for field trips, book fairs, and much more. After three years as head of the PTA, I worked part-time at Harford Friends School as Associate Director of Admissions. In 2010, I joined Harford Community College as an adjunct faculty member tutoring part-time in the Learning Resources Center. In May of 2015 I started painting full time.
With both sons in college, I am now a happy empty nester, returning to my roots as an artist. I am thoroughly enjoying sketching and painting portraits in oils from live models. I’m drawn to the Old Masters and classical realism. My foundation in plastic reconstructive surgery has enabled me to capture a sitter’s facial structure, likeness, and expression. It is my goal to capture the essence of who they are, their personality, and character.
As a classical fine artist, I also enjoy plein air painting (landscapes) in oils and watercolors. I occasionally paint still life set-ups, draw from life models, and have recently started sculpting figures in clay.
How I Paint Portraits
I am fascinated by the endless variety of humans, their looks, personality, character, and quirks. As a painter I create an illusion which reveals a great deal about my sitter. I look for their universal expression, usually a pleasant smile or contemplative look, which enables the viewer to be drawn into the eyes, the mood and moment of the painting. Observers usually see the personality of the subject which they know best.
When I start a portrait, I first have the person sit for a charcoal sketch. This helps me discover what makes the sitter look the way they do and allows me to get to know them through pleasant conversation. My goal is to capture the sitter’s inner likeness, the essence of who they are, their personality and character. Sketching also enables me to learn the sitter’s facial structure and features.
During this first meeting I will also take some photos of the sitter. I look for their “at ease” position rather than a formal posed shot. These photos I’ll use to help compose my composition and for reference when I don’t have the model in front of me. Photos are handy in rendering folds in clothing since these change from sitting to sitting. Backgrounds too, are easily done from photos and do not require the sitter’s time.
From my style you can see that I’m drawn to the old masters and classical realism. I use an initial charcoal drawing, photographs, and subsequent sittings to create my paintings. By listening and carefully observing proportion, light, color, form, line, and rhythm, I decipher the truth before me. I bring the illusion to life.
Feel free to visit my website at CarmellaFifty.com.
Upon graduation in 1982 with a Master’s degree in Medical and Biological Illustration, Ranice Crosby hired me as an ophthalmic illustrator. Three months later, I became the illustrator for the Department of Plastic and Reconstructive Surgery. After six years at Hopkins, I continued with the Department of Plastic Surgery as a freelance illustrator. I became president of the Chesapeake Bio-communicators and a Fellow of the Association of Medical Illustrators.
My career took a back seat to my family after I married and gave birth to my second son. I re-entered school - volunteering for field trips, book fairs, and much more. After three years as head of the PTA, I worked part-time at Harford Friends School as Associate Director of Admissions. In 2010, I joined Harford Community College as an adjunct faculty member tutoring part-time in the Learning Resources Center. In May of 2015 I started painting full time.
With both sons in college, I am now a happy empty nester, returning to my roots as an artist. I am thoroughly enjoying sketching and painting portraits in oils from live models. I’m drawn to the Old Masters and classical realism. My foundation in plastic reconstructive surgery has enabled me to capture a sitter’s facial structure, likeness, and expression. It is my goal to capture the essence of who they are, their personality, and character.
As a classical fine artist, I also enjoy plein air painting (landscapes) in oils and watercolors. I occasionally paint still life set-ups, draw from life models, and have recently started sculpting figures in clay.
How I Paint Portraits
I am fascinated by the endless variety of humans, their looks, personality, character, and quirks. As a painter I create an illusion which reveals a great deal about my sitter. I look for their universal expression, usually a pleasant smile or contemplative look, which enables the viewer to be drawn into the eyes, the mood and moment of the painting. Observers usually see the personality of the subject which they know best.
When I start a portrait, I first have the person sit for a charcoal sketch. This helps me discover what makes the sitter look the way they do and allows me to get to know them through pleasant conversation. My goal is to capture the sitter’s inner likeness, the essence of who they are, their personality and character. Sketching also enables me to learn the sitter’s facial structure and features.
During this first meeting I will also take some photos of the sitter. I look for their “at ease” position rather than a formal posed shot. These photos I’ll use to help compose my composition and for reference when I don’t have the model in front of me. Photos are handy in rendering folds in clothing since these change from sitting to sitting. Backgrounds too, are easily done from photos and do not require the sitter’s time.
From my style you can see that I’m drawn to the old masters and classical realism. I use an initial charcoal drawing, photographs, and subsequent sittings to create my paintings. By listening and carefully observing proportion, light, color, form, line, and rhythm, I decipher the truth before me. I bring the illusion to life.
Feel free to visit my website at CarmellaFifty.com.
