Lexie

[Steven Sweeney]

I'm a little slower to make the rounds these days. Just a couple of quick notes about light.

The wing of the nose in shadow has too much light on it, as does the base of the nose (otherwise known as overmodeling, or "looking into" your darks too hard to find lights). Squint down at the photo and you'll see that the entire dark shadow across the base of the nose and up on the wing could almost be put in as one value. I'd move your painting toward that effect.

Also, too much light on the upper eyelid in shadow (between the eye and the eyebrow), which is making that lid look unduly prominent and puffy. Again, compare the relative amounts of light and shadow in the photo.

One last thing -- in the shadow side of the face as shown in the photo, there's a slight lightening in the area of the temple, in line with the eyebrow. In the painting there's a curious dark shape there. Might want to take another look at what's going on there in terms of form (and the way light describes it.)

Otherwise very lovely, a pleasant soft quality to the overall appearance, nicely handled edges.

[Janel Maples]

Steven,

Better late than never. Thank you for doing it at all.

I will be addressing every area you, and everyone else, have mentioned during the date I scheduled with my studio this afternoon. (I am very excited over here)

I will post a photo of my progress after I am finished.

[Janel Maples]

Here it is. The only change I made that I wasn't happy with was to try and make her face fuller at the corner of her mouth on our left as we look at the painting. She looked like she had a tooth pulled so I brought her cheek back in. I realize I jumped into painting too soon before having the initial drawing nailed.

[Sharon Knettell]

Janel,

Your design and lighting are lovely. I see you have the ability to really capture the human face.

I rant on about working from life and this is a wonderful opportunity to do so.

As you are obviously adept at photography, photograph your daughter in available light, in the same area where you can set up a canvas. Place your canvas, the photo and Lexie side by side in a row with the canvas being in the middle.

As children are wiggly use the photo to correct your drawing but observe and paint the color from life. Photos miss so much color in skintones it is a shame not to attempt to actually see what is there.

I did a painting of a little girl in a ballet skirt that way. It is in my SOG site. The girl, who was ten, would not sit still for a second. She was delightful, animated and bright. I doubt I could have gotten any of her spirit from the photo, which was perfectly adequate. There is no comparing the color either.

Sincerely,

[Janel Maples]

Thank you so much, Sharon. I have to tell you, when I received the email that you responded to this thread I was delighted. I really admire your work and the first thing that came to my mind, when I saw your name, was the stunning (large) pastels you did of the dancer (who moved to Wisconsin : )

Anyone, reading this, who has not seen them should look them up; they are as I stated above, stunning. I apologize for not knowing how to link you to another thread; if my memory serves me correctly, they could be found in Unveilings for the Pro.

Sharon, perhaps you could help me out here and post a link.

Your suggestion for the live model / photo set up is a very good one. I thought that was a great idea when I read it from another post but for some reason, did not try it. I'm glad you mentioned it because I think that might be the answer to the problem I am having with painting Lexie. She is a very animated child and although you can tell my paintings of her are paintings of her, something is missing. I am missing the life that some artists (you included) get in their work.

I did another painting of Lexie (after this one) that I posted in WIP and finally in Unveilings for all members. It is called My Little Lexie. I feel like I am making progress but I am still not capturing her spirit. I think I will try again with your suggested set up and see if that makes a difference.

And once again, thank you.

[Sharon Knettell]

Hi,

I am not particularly adept at computer stuff but it under the pro section, under the title "The Biggie Pastel". I am about to unveil a new one, but the weather in the northeast has been one grey cloud for weeks and I can't get a good shot of it.

I started working just from photos as many of the people here on the forum have. I live in RI and am a frequent visitor to the Boston Museum. When I compared my skintones, lifeless, to what I saw in the masterpieces in that museum, I could no longer be satisfied with paintings done from photos.

The color and the paint quality in the Velasquezs, Sargents, Copleys, Rembrandts, Stuarts and Renoirs made me ashamed of my work.
The faces especially in a Renoir or a Stuart are made up of so many shimmering touches of color. The skintones don't go from light to dark with a little pink on the cheeks and lips. To actually see paintings like that up close is a real eye opener.

It isn't always possible for many portrait artists today to have your parons sit, but much can be learned by continuous work from life. It also helps you enormously with the work done from photos.

Children have such wonderful color and freshness.

The little girl that "sat" for her portrait was extremely lively, 5 seconds and she moved! However I was able to grab her color and use the photo for drawing. I had the photo blown up to lifesize as well. Have your photo processer blow up the head to the size you are working.
Another tip, put rouge and lipstick on them (tastefully), the girls love it and the extra color works in the painting.

Good luck in your next effort!

Sincerely,