Leigh

[Cynthia Feustel]

I am a new member and have just posted my introduction if you would like to know a little about me.

This is my first oil painting. ( I have been working in watercolor). I was under a lot of pressure with this painting, not only because it was my first oil and a rush job for Christmas, but also because it was for a very affluent family in NY and could possibly open up alot of opportunities in a new market.

The photo references were snapshots taken by the family. Yes, I now know better about accepting bad photos thanks to everyone on the forum! Unfortunately, I currently have several commissions I am now working on that could win the mother of all prizes for the worst photos ever. After reading all your advice, I think it may be sinking in that I don't have to accept terrible references. Up to this point I would just take anything and then drive myself crazy.

The client did send enough photos for me to get a feel for the little girls character and also better references for eyes, hair color, etc.
I choose this one because they said it best conveyed her personality.

Some things in the painting don't follow this reference exactly. I took liberties to use what I saw in the other photos to try to improve the overall portrait.

The client was very pleased and felt I captured her perfectly. The background probably should have been more detailed but I just ran out of time (shipped the painting before it was barely dry). I told the client that because it was an informal portrait , a loose, impressionistic background worked well. Actually she agreed. Thank goodness. We are now discussing the next portrait she wants done.

Please don't hold back on your critiques. I want to learn and grow in this new medium . Thank you for giving your valuable time to help me.

I am interested in having anything and everything critiqued.

Thanks a million!!

Cynthia

"Leigh"
17" x 14"
oil on canvas

[John Reidy]

Hello, Cynthia -

You've done a nice job understanding and handling Marvin's pallette (if I remember your first post correctly).

My philosophy as of this date is to let the background go soft and greyer (or bluer if outside) to keep it in the background.

[Cynthia Feustel]

John,

Thanks for your reply. I really had a hard time knowing what to do with the background.

And what a time I had choosing the palette. When I first found out I had this commission and it was to be in oil I started to research how to paint flesh tones. I ordered JH Sandens portrait paints and then to understand how to use them I ordered three of his videos. I just about spent more money on all this stuff than I got for the commission. I started the painting confused and bewildered and it just got worse. That is when I found the forum and I must say you all saved my sanity. After spending days reading everything I could here , I mixed up all my colors, started a new canvas and just painted away. It all just made sense to me. I still have a long way to go but at least I have started this journey.

[Chris Saper]

Dear Cynthia,

It's so good to have you participate in the Forum!

As you obviously are aware of the limitations inherent in your source photo, there's only a few additional comments I might make about its use. It's very characteristic of flash photos to cast strong light on planes that in any normal lighting situation would be in shadow. In your image, this is most evident in the light on her little double chin, and on the throat just under the chin. These light values, although true to the photograph,have the same effect as overstated reflected light - the planes no longer remain in the shadow. I think also that your portrait would benefit from some dark notes placed in the shadows of her hair, and where the skin moves into shadow against the clothing.

There are a few tangents that, while part of the photo, don't have to be part of the painting. There's a tangent where the hair joins with the jumper's bar at the shoulder on our left; where the cheek and white collar meet on our left (this area would be better explained by having overlapping objects); and perhaps not quite a tangent, the stiff fabric in the jumper what I'd expect to see as the white sleeve on our right. I would probably have painted in the sleeve, and let the jumper be closer fitting.

With regard to your drawing, you have done a fine job. An area that you might recheck is the drawing at the tip of the nose - it is drawn as it would appear if she were looking directly at you, rather that with her face slightly turned away. I find your color harmony to be extremely pleasing.

Regarding edges, I think they work well on the silhouette of the hair, as you have kept them soft, and nicely integrated with the background. However, the silhouette's edges below the neck, and at the bottom of the sleeve, and edge of the arm on our left are the sharpest edges in your painting, and compete with the face for attention. The placement of the arm on our left, combined with the sharp edges and contrast, beg to move the eye out of the painting compositionally. When you take your own photos, if you take a number of shots from the same position, you will give yourself options to combine parts of different photos to improve the composition.

If clients will be choosing their own phots, you can give them instructions about flash, viewpoint, clothing etc. I really like seeing little kids in denim overalls, but the stiffness of the fabric can present painting problems, since it doesn't move with the underlying form. If you are taking your own photos you can attend to this during the photo shoot.

Look forward to seeing more of your work!

[Cynthia Feustel]

Dear Chris,

Thank you for such a detailed critique. It is a priviledge to have your input. I really admire your work and I also have your book.

I have studied all your suggestions and certainly agree with you. This is such a learning experience. The wonderful thing about painting is that each one presents a new opportunity to learn more. It is funny though, I have read similiar advice on other critiques but just didn't see these things on my own. I actually looked for tangents, duh! And that nose always had a problem. I also see what you mean about the light and dark values and edges. And I was getting so excited about how that arm was turning out, I didn't think about it competing with the face.

This is why individual critiques are so valuable. It's easier to understand and learn when you are the one experiencing the problem. I will use one of my preliminary paintings I did for this portrait to try out these corrections

I wish I could fix this painting but it is gone so I will definitely post for help on my next oil before it leaves. It may be a little while though. My next six portraits scheduled are watercolors, then an oil of a horse farm and then finally another oil portrait. I love oils and need alot more practice for portrait work. Between my painting schedule and teaching I don't have much free time so I may have to learn as I go. I shouldn't complain since this is what pays the bills.

By the way, if anyone would be willing to discuss pricing with me, perhaps that could be done via email or phone. My prices are on the low end and I don't know where to go with them or what is realistic for my experience and location.

Thanks once again,

Cynthia