Joni
 

This posthumous portrait is sadly created from a single poor source photo, I think a school picture that was copied, then recopied for the funeral. There were several colorizations of this single photo, so I took the most realistic of them all. It is approximately 20" x 18", (I don't have the exact measurements in front of me right now) and is on the light grey Mi-Tientes paper, smooth side.

Shortly after this picture was taken, she and a friend were in a car that was hit by a train. Both were killed. The client has commissioned this as a surprise for the girl's mother this Christmas.

I have yet to complete the shirt and necklace, oh, how I hate chains.

Here is the reference photo.

The painting, full size.

Her face, close up. I'm not sure how the colors will translate, I took them without a flash, but perhaps I should have taken them outside to photograph.

Julianne,

This is a tough reference photo, and it doesn't leave you with many options but to draw what is there.

I can see that you have put alot of work into this drawing, probably as much as I would put into an oil painting. Perhaps several days? The subtle reflected colors on the edges of the face, the careful working and modeling of the detail of the mouth. It is hard to critique a drawing with this much work put into it without discouraging the artist. Realism, however, can kill a portrait sometimes. Sometimes we should just cut loose and let it fly.

I usually take 20 minutes, no more than 30 on any given pastel portrait, good, bad or ugly. I know it is a disgustingly short time, and maybe if I took longer, it would be better. Or not. I am a bit of an impressionist, I am afraid, so take this with a grain (or a pound) of salt.

You should try it. Maybe not to that extent. You obviously have the skills to draw, but your drawing here, though fairly accurate, is a bit stiff. Perhaps if you pushed yourself, you would kick your subconscious mind into action, instead of drawing so consciously. You know, like a piano player who doesn't need to look at the keys anymore. His playing is more musical when he can play subconsciously, rather than looking at each stroke of the keys. Do I make any sense?

Best wishes!

Lon

Julianne,


The likeness is quite good. You

Marvelous Mentors
 

I can't thank you enough for the advice and honing suggestions. You're right! Just a few tweaks and adjustments made all the difference!

I don't have a finished picture, but just know that the client was ecstatic with the finished piece.

Lon, you are right about cutting loose. I am so concerned with the fact that I'm not well trained in the classic methods, that I tend to over compensate with details to PROVE I can make a painting look like the subject. Some of my best pieces are the ones that just happened. A few hours and they were done. But this happens so rarely.

My gratitude to both of your suggestions and Steven, I thank you for such an indepth critique. I do nothing but learn here.