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artistjan
04-25-2003, 11:35 PM
MY IMAGE(S):
http://www.wetcanvas.com/Critiques/upload_spool/04-25-2003/15037_easter2003_070.jpg

http://www.wetcanvas.com/Critiques/upload_spool/04-25-2003/15037_easter2003_086.jpg


GENERAL INFORMATION:
Title: daughters
Year Created: 2003
Medium: Acrylic
Surface: Canvas
Dimension: 9x12 each
Allow digital alterations?: Yes!

MY COMMENTS:
I have been experimenting with portraiture this week. I like the idea of painting big on a small canvas and I want to try to paint something that is more natural than a photographic portrait.

The first is my 9-year old. This painting shows her going down a slide in the park.

The second is my 6-year old. She is a little more shy than her sister. She is shown here on the steps leading to our deck.

Please believe me when I tell you they are both good likenesses so I am very pleased.

MY QUESTIONS FOR THE GROUP:
How do the compositions look (especially the second)?

How could they be improved?

I am reluctant to add more darks and lights to the skin tones, but I am sure someone out there will tell me I should!

Luzie
04-26-2003, 12:36 PM
I like that both of them are caught in a way/situation which suits/ expresses their personality (the first one more outgoing, the second shy). I think the first one is compositional really good and like the movement of the hair a lot, the joy comes across.


The second one looks shy but friendly, I am not sure about the uniform color of the hair (maybe some darker strands) and if you want to lighten the wooden part she is leaning against, if this is a railing maybe her fingers wrapped around it (for the viewer to see them) would bring the piece together a bit more and connect the railing and the child and it would look less cut off? Her eyes and the smirk are well done
:)

jerryW
04-26-2003, 04:54 PM
the painting above has more happenning accross the canvas and it tends to pull to gether as a unit in the action.

the one below is notched. the big triangle has justifications in reality that are not conveyed into the painting.

I guess the artist has to establish rules in each painting and stay with them, and use them to make a unity of the whole thing.

for me the rescue of the second painting is hidden in the rule of the hair complex where diagonal lines are found repeatedly.

using the same rule (feeling or type of complex) the big triangle can join in with the rest of the painting: this would involve exposing a grain that echoes the density and angularity of the hair.