Christine's coming along
 

Well, I think my awful dry spell is over. I am happy with the progress so far. This is graphite and white pastel on Stonehenge toned paper. I think I am discovering this is the best paper for me to work on. I like being able to use the toned paper as the neutral, and especially like using the white pastel for highlights.

I'm concerned about the rest of the hair, and we'll see how far I take the satin fabric.

Any critiques would be helpful. Chris and Kris (my son) saw it last night and they are real pleased with it, so I am happy that her likeness is good. Just as long as I don't ruin what I have done so far, I have been doing this a lot lately (very disheartening to say the least).

The "line" down her cheek on our right will be the shadow of a strand of hair. And I stopped just as I was beginning to form the neck, so the shadow under her jaw is not where I want it to be.

Not sure what it is but something about this (the pose, the expression?) said "Tony Ryder" to me. Very nice start!

You are absolutely right Michelle! I tried to remember everything I learned in his workshop and I had his book out, as I had just finished rereading it. So I tried to think about creating the skin and thinking about how nothing is straight or flat, everything on the body is round. It really made me get back into that zone, that had eluded me since before my surgery two months ago.

I did not work on it yesterday. Maybe you, or someone else could shed some light. For some reason my drawing looks like her head is tilting more than the reference. I don't think I mind it, but I can't figure out what is creating the look. Could it just be that I have not "put in" the hair. The lines I have for the back of her head/hair are fuller than the reference, I will make that adjustment.

Thank you for the compliment, Michelle! Wish me luck on the rest of the piece. . .

Great start Patricia! I really like how you rotated / change the pose from the reference picture. It really makes a difference. Good job.

I prefer your drawing to the reference photo, and it looks very much like her. So far, it's lovely Patricia. I wouldn't take the fabric very far with this one, it will detract from the softness of her face. I would say that you are over your block and have come back with flying colors.

Jean

Thank you Josef and Jean,

I am really glad you like the tilt of her head in the drawing. It was not intentional, except that as I was concentrating on the drawing I kept thinking about Chris' sweetness and the way she tilts her head and has a quiet smile. Intuitive? Wouldn't that be cool!

I agree that the fabric should remain unfinished. I like that look anyways. But I do want to finish her hand and may have to do some indication of more drapery so that it doesn't look to be floating?

Pat-
This is just beautiful, she has a madonna-like quality to her, sweet and serene.

Pat,
I also like the tilt of her head in the drawing better than the reference; with her expression, it clearly communicates a bright and appealing personality. You have definitely come back from your artist block.

Hi Pat,

Since you know the routine, I

Thank you Terri, Chuck ad Steven,

Thank you Terri and Chuck for the compliments!! My full intention was to draw out her sweetness, which I failed to do in the previous SIX drawings I've attempted - this one seems to be working!! It is a great boost to my confidence to read these remarks . . .

Steven, your observations are acute and keen as always, and greatly appreciated. Some of the issues I was aware of, others I would not have seen without a second pair of critical eyes (the forward edge of neck, shoulder anatomy, catch light in eyes) I have much to study before getting back to her, which will not be until the weekend. So she is on my easel in my living room, where I can study and think about my approach reference your notes.

A couple of things I did purposefully. I elongated the neck because the photo did not do her decoulatage justice and I wanted it to appear as graceful as she appears in life. But I did not consider enough the angle of the shadow and it's affect. This will take much more consideration.

Yes there is a funny bulge on the tip of her nose! There is a line I took out last night and instantly it read much better. I did have a hard time with the shadow under our left eye and I will follow your advice and not be as "true" to the photo contrast - I like that shadow and wanted it rendered well, but have been frustrated by it I guess cuz I was putting too much emphasis on the "crescent of light"?

Ok, you caught me, forgetting that the eyeballs are round!! So MANY things to always be thinking about in a portrait drawing!!

More later . . .

I'm so thrilled. I just received an e-mail from Christine's mother. I sent her the image yesterday and this is what she wrote back:

"Wow! I repeat: Wow!!! You captured her likeness and her personality too!!! I can tell her mood and read her eyes just looking at the picture. How cool. John commented about how truly talented you are as he looked at the picture."

This is such a great shot in the arm, really boosts my confidence!! Thought my friends here would enjoy it. :)

Have a great day!

No problem with that at all. My "lists of things to look at" are merely that, and if something is in fact exactly as the artist intended, then as far as I'm concerned, that's the way it should be.

This is turning out to be your best yet. It seems in this drawing that you are working with so much confidence. My initial thoughts were the same as Michele's in that it is very "Ryder" like. It also has a bit of a Vermeer feel to it.

Look forward to seeing the finished piece.

Pat this is great!

Steven,
I feel encouraged . . .

Thank you for the compliments Mike and Kim, you really flatter me, now I am praying I can finish her with as much deliberateness. I have been practicing hair and reading da Vinci's Book to Artists (title?) and other drawing books about him. I wish to approach the hair with a strong and positive attitude. Jimmie Arroyo makes it looks and sound so easy! Hopefully, I'll get there, too!

Will post finished product next week. All of the support and encouragement here helps me more than I can describe. This Forum is my best classroom!

Can you tell me more about this book? Sounds interesting.

Well, she's almost done. I thought I would post again for your advice. I usually see more when it is up here, and your critiques help me too. I can see that the shape of her forehead is still not right. I need to darken the top (our) right crown of her hair. I had darkened the hair on our right but I did not like it. Her face is so soft (and I think it needs to stay that way for fear of me ruining what she and her mom and my son already like) that when I darkened the hair it kind of overwhelmed her face.

I chickened out doing the hand, every attempt on sketch paper and on this piece didn't read well. Maybe because not much of the hand is showing in the portriat and I am not the greatest with "suggesting" the hand.

Anyone have any ideas for matting and framing this piece? It is Stonehenge, a grayish blue color.

Thank you for your help.

Michelle, I will get the name of the book when I go home today. It is a great, great book to read. It is Leonardo's letters and lectures to his students. I just love reading it. I know you would like it...

Lovely!

The only changes I would make would be to darken the eyes somewhat, and the mouth just a little. Right now the highest area of contrast is the top part of the hair and you might want to bring attention back to the features a bit.

You have made a family treasure.

Thank you Michele for the flattering comment! I did make the adjustments you suggested and it looks great. Will post an image when I get the chance.

I did find the book I had mentioned earlier. It is small, but I have reread many many times.
[url=http://www.amazon.com/exec/obidos/ISBN=0894718347/astrokeofgeniusA/]Leonardo Da Vinci

Thanks, Pat, I'll see if I can find it.

Pat,

You've done a great job with this, best yet. I agree with Michele about the contrast, but still think that if you measured the whole picture's contrast based on how dark you made the top of her head, there is room for adjustment through out the drawing. Or you could always lighten the top. :o Okay, I'm kidding. It could just be much different on screen than the original, but playing with contrast would make this stand out.

Christine was finished last night and I have posted it in Unveilings. I want to thank all of you for your encouragement and support and suggestions. You really push me to polish my pieces and sometimes that last bit of attention to detail is what I fear the most.

This is my art community and I am so grateful for all of you!