Gregg and Stacy
 

I joined this site in May, but this is my first submission for a critique and would appreciate any suggestions you may offer to help me on this and future portraits.

I've done portraiture in the rub out method for years but I was so impressed by the underpainting technique that has been discussed on this site that I had to try it. I'd especially like to thank Karen Wells for her explanation and demonstration of this method.

This is a 40" x 30" underpainting of my son Gregg and daughter-in-law Stacy. I will also post the reference photo that inspired me to attempt this painting. The photo was taken by one of their friends at a mystery party that they had attended. They were to dress the part of the character that they acted out. When they showed me the black and white photo my imagination started thinking about doing a sepia-toned portrait, typical of the old sepia-toned photos on tin plates that my grandparents had shown to me as a child. When I was planning out this portrait I tried to imagine what to place in the background that would tie the image to the 1920's-30's time era in which the mystery was based. I felt like the Rolls Royce Phanthom 1 would be a nice item to add that would tie it to the time era as well as give the setting some class. I copied the car from a classic car book that I had in my library and the rest of the background was adlib. Again I would appreciate any suggestions or thoughts on this painting that I could carry over to future projects.

Rerference photo
 

This is the black and white photo that I used for reference. As you can tell, I had to do something different with the background.

Close-up of Gregg
 

I am enclosing close-up images for details.

Close-up of Stacy
 

I hope these help.

Edges
 

This is a wonderful underpainting! I especially like the drama in the background. Nicely handled.

The fun thing about underpainting is that it is your time to work out composition and try things out before you commit to intricate colors.

One of the decisions that may need addressing here is where are your lost edges going to be? The painting is strong everywhere, and might benefit from a variety of edge treatment (keep a few hard edges, soften lots more - especially along the contours of flesh).

I believe another edge rule is where the form ends, make the edge sharper than in transitions.

Watch the bridges of their noses. These should be a value darker, me thinks.

Please post progress!

Jeanine,

Thank you for your kind words of encouragement. I also appreciate your taking the time to respond to my post and pointing out areas that I need to address. I do agree that some of the edges are indeed too hard and need a softer touch. That is something that I've had trouble with, and why I needed someone with trained eyes to keep me straight. I'm just hardheaded enough to keep after it until I get it right (or close). Also, thanks for pointing out the value around the bridges of their noses. The actual painting shows a little better value and some of the light value is lost in the photograph, but you're still right about your point. My intent on this painting is to keep it sepia toned to simulate the antiquish look of the 20's. I am tempted to continue on with the color but I plan on keeping it as is.

I've been monitoring this site for 6 months now and just now posting so I've had a chance to view many people's styles and comments. I'm impressed with your style and your sharing the progress of your paintings. I watched as you progressed thru your husband's painting and I've been keeping track with your progress on Gillian. She's a very lovely lady and I know you'll do her proud.

Thanks again.