Portrait commission from Italy - As I progress

[Ant Carlos]

Hello guys,

I thought this may be interesting to post here, because I've got this commission from a guy from Italy 3 days ago, and the deadline is... June the 20th. Yes, in 17 days I'll have to be shipping this painting to Napole and if you ask me if I am confident, I'll answer "Yes, No, Yes"! Hehehe.
Anyway, the 1st thing I did was create a composition in a very rough pencil sketch and submit for my client's appreciation. As he asked me to paint his girl-friend close (and related) to nature, I was lucky enough to get his approval on my A4 sized first drawing (12t image bellow).
Then I tranfered the idea straight to the canvas, taking a shortcut and trying to avoid the step of cartone study. I took the opportunity to study the 3D shapes of my subject, using pencil. The next steps will be outline and imprimatura. I will use a fabric marker to highlight the outlines, since I don't have time to use a thin brush with paint as usual (and recommended). All the pencil work will be washed out as I apply the imprimatura (hopefully tonight). I rarelly go this far in detail before the imprimatura. But this is a special case and the more I do for now, the less will be left for later. The second image you see is the canvas (46cm x 65cm) as it is at the moment. I'll keep you up-to-date and may the force be with me untill 20 of June :)
Thanks for seeing,

Ant

[guillot]

:clap: :clap: :clap: :clap:

Hi Ant Carlos - Can't wait to see this progress and thank you for sharing it with us. LOVE your work !!!

Tina

[itzmichele]

Beautiful rendering - can't wait to see the finished product!

[Biki]

thanks for doing this - i love to watch you work.
this is going to be another beauty.

tell us - you mention a fabric marker. - do you have time to explain.?

[WFMartin]

This looks like a wonderful start to what will be a beautiful painting! Nice work.

Bill

[LadyJane65]

Wow, this will be beautiful. Can't wait to see your progress posts.

LJ

[KingCrimson]

Thanks for posting this Ant,looks good so far,will be watching! :)

[Ant Carlos]

Thank you all for the replies. Motivates me :)

Biki,
Sure I have time to explain the "fabric marker" thing. Usually we classical painters transfer the drawing to the canvas, using pencil, or charcoal, and then we use a small brush with very thinned paint to make the contours (I wrote outlines before). When we apply the imprimatura, all the pencil/charcoal traces will be washed out and only the (dry) paint done with the small brush will remain, to guide us. But it takes a couple of days for that paint to dry, so I used the fabric marker pen for that job, as it dries fast, in order to gain time. I chose a warm color (red) because it will be easier to cover as I paint. I fear any other color, like blue or black, would undesirebly show through the painting in short time. I attached the image with the contours done with the marker, and next step will be the imprimatura, in few minutes.. then, hopefully i'll be able to resume the work tomorrow.
The biggest challenge of this work is to make an indirect painting within 20 days. Of course it will be a mix of direct/indirect technique, so I hope I can make the deadline.
I'll keep posting, to let you follow my success or failure (argh).
God bless the art!

Ant

[Classical Vince]

Hey there AntCarlos! Glad to see you found the forum to share your work, been keeping an eye out for you ;) Your drawing looks great and I hate to say it but...Im glad you are under-the-gun to finish this. We get to see you paint it quick :p ;)

Thanks for sharing the wip.

[Ant Carlos]

Hehe Vince.
I think you are absolutely right :P

So, last night I applied the imprimatura (a mix of varnish, turp and paint), and this afternoon I did some underpainting, using fast drying pigments. I did some corrections, trying not to let the likeness run away. Although it is not very important at this stage.

I am just taking a break atm. I'll go back and work on the foliage, since I am not allowed to lose any time (u loving it, right Vince?) :)

For now the picture looks like this:

[artmom]

This is so exciting, watching the painting emerging from the canvas! Already, it has character and beauty. Thanks you for taking the time to share and we'll be happy to goad you on! :D

Lyn

[Biki]

ah Ant - this is so fascinating.
( thanks for answering my question - i had these images of some dressmaking tool for marking fabric - doh :rolleyes: )

Your beautiful lady keeps changing her face here. I would love to see the original photo to compare. The beauty of her face, for me, shone thru most in the intitial drawing ( not the rough sketch - but the one on canvas)
along the way she seems to have lost some chin - so I am wondering what she really looks like.

[chandlerjr]

Ant,
This is incredible to watch develop. The face looks like a warm, brownish gray with vermilion in some of the shadows. What colors did you mix to get the gray facial underpainting??? Superb!

As you start layering in the face, I would be interested in the palette being used.
Larry C.

Hehe Vince.
I think you are absolutely right :P

So, last night I applied the imprimatura (a mix of varnish, turp and paint), and this afternoon I did some underpainting, using fast drying pigments. I did some corrections, trying not to let the likeness run away. Although it is not very important at this stage.

I am just taking a break atm. I'll go back and work on the foliage, since I am not allowed to lose any time (u loving it, right Vince?) :)

For now the picture looks like this:

[LadyJane65]

Goodness me, Ant, this is just absolutely incredible. Thanks for the tip on the red marker. Makes perfect sense!! Waiting impatiently for the next posting!!

LJ

[Joe Rucker]

Looking Great :clap: :clap:
Have you seen Lucian Levy Dhurmer’s work?
Here is a sample:

[Classical Vince]

Awesome post Joe!

(u loving it, right Vince?) :)

Looking good! Of course Im loving it ;)

[palob]

WOW! 17 days! It is really fast counting some time needed for drying oil before shipping (is it oil, right?). Not to mention what result you are going to achieve!
This WIP might turn to slow web-camera :D. I really do not want to miss this.

Good luck with it. We do not tolerate any failing! :D

Pavol

[Ant Carlos]

Larry,
for the imprimatura/underpainting I used raw umber, sienna (the one I have is really close to vermilion), cobalt blue and flake white. I tipped my brush in some madder deep for the hair, as I believe this will help me when I apply the colors.

Joe,
no I haven't seen that painting before. Nice one. Maybe too dramatic for a portrait, eh! Reminds the kind of leaves I am using, but I'm only trying to please my customer as he wants his girlfriend close and related to nature (no visible clothes). Actually I am not satisfied with the original concept of the leaves surrounding my subject, and I am considering a change... and that leads me to answer to Biki :)

Biki, I think the idea of working too many details in pencil was not that good. I tend to make corrections as I paint, constantly. I noticed the shape of the face was too rounded and I corrected it. But remember this is a rough underpainting, with little 3D rendering so far. At my request my customer sent some jpg's to me, plus a small avi file (movie) and an mp3 of a redorded telephone chat. The movie shows me how my subject moves, the mp3 gives me the clear idea of how she talks. All this helps me to construct her personality in the painting. When I paint a portrait I keep telling myself that the person in the picture must be the same one that I heard talking, that I saw moving, etc. At least I try my best not to make a painting like if it was only a still photography.
I attached some small pics for your reference. I hope in the end the person in my painting will be the same one of these 3 photos :)

Soon I come out with some update image of the canvas. Yesterday I've been away from my easel, in the farm. And took some time to study foliage, in order to help me as I paint today.

Cyaz,

Ant

[Ant Carlos]

Pavol,

I'll have to ship it still wet, I know - and I'll think of something to protect the painting. This must be in Italy as of 8th of July. June the 20th is my deadline because it may take about 15 days to get there.
My customer is aware of the odds, so that gives me a bit of confidence.
I think I can make it :)

Ant

[chandlerjr]

Ant,
You are amazing me! I super imposed your full face frontal pic of the women with your imprimatura and the proportions match beautifully. Keep the progress coming--this is great to watch!
Larry C.

Pavol,

I'll have to ship it still wet, I know - and I'll think of something to protect the painting. This must be in Italy as of 8th of July. June the 20th is my deadline because it may take about 15 days to get there.
My customer is aware of the odds, so that gives me a bit of confidence.
I think I can make it :)

Ant

[Ant Carlos]

Ok, here we go!
I started the underpainting for the foliage, using colors (again trying to save time). I'll post the progress images in separate replies so I can explain the solutions I had to find as I faced the compositional issues.

In this one I was starting to render the leaves in the foreground, but I found that kind of leaf was not going to give the movement (soft, light) I'd need to balance with the main subject. So I stopped here...

[Ant Carlos]

That kind of leaf was... dull. I decided to stop and try another one.

I found the new one much better. And, Biki, I had to abandon the original sketch again.
I took this photo last night, and the light was really bad. But you can compare the 2 kind of leaves.

[Ant Carlos]

Another thing: my customer wants me to add a poem wrote by him. I'll have to find a place to insert it in the picture, without affecting the original concept (portrait). I think maybe I can write the 7 lines in the trunk of the grape vine, mixing it with the relives and cracks. I was not planning to paint a trunk, but... looks like a good ground for the poem. I scrapped off the old leaf and prepared the trunk in the botton right.

[Ant Carlos]

And this would be a good composition for the foreground, in my opinion. But then I noticed the visible area of the trunk was not enough to write the poem.

[Ant Carlos]

Finally, for today, I had to re-work the trunk underpainting, to create more room. This is how may painting looks atm..

[chandlerjr]

Ant,
This is looking great! What size is the canvas? About what size is her face?
Larry C.

And this would be a good composition for the foreground, in my opinion. But then I noticed the visible area of the trunk was not enough to write the poem.

[Ant Carlos]

Thanks Larry :)

The canvas is 46cm x 65cm
I tried to paint her face life size, but I think it's a bit larger. Slightly

[guillot]

Hi Ant - coming along beautifully, of course. You are going to add some colour to that beautiful face aren't you? I like the idea and placement of the poem. Thank goodness only 7 lines, huh? :)

Tina

[Ant Carlos]

Hello Tina :)
How are you?

This is only the underpainting. The whole painting will still get at least one coat of paint. I hope soon I can bring her face to life with the colors.

Regards,

Ant

[guillot]

Fine Ant, thank you for asking, and you?

I really love the process you go through in your paintings. You definitely have a style that is all your own!! Technique, composition, and color - so I just can't wait :clap:

This is going to be gorgeous !!!!!!!!!!!!!

Thanks again for taking us on this journey with you,
Tina

[chandlerjr]

Ant,
This is going to be fantastic. A great work of art! When you start laying in the color to the face, what palette of colors will you use?
Larry C.
Hello Tina :)
How are you?

This is only the underpainting. The whole painting will still get at least one coat of paint. I hope soon I can bring her face to life with the colors.

Regards,

Ant

[Classical Vince]

Coming along great Ant. I was really intrigued with the research you did on the subject including the mp3 and avi files. I was wondering how a long distance project like this might go without having a little of the personality of the sitter involved. Fantastic ideas!

[Ant Carlos]

I started working the flesh tones. Sorry for the bad photo. It was taken under night fluorescent light, and at angle because the wet paint was showing too much glare of taken frontal. Next step will be a layer to the hair. Then I'll work on the foliage again and try to apply the final layer with details. I'll go back to the face in 3 days and make some corrections of light and likeness. After that, I'll paint the hair the more accurate possible, and in the next day I'll apply general highlights and fine touches. I have 10 days to do that. Looks quite possible :)

Larry,
my palette for today was raw/burnt umber, yellow ocher, sienna, ultramarine, flake white and cad red.

Vince,
yeah, that system works perfect for long distance commissions. Actually I record a small movie even of my local customers, so I can study their movements and capture some naturality. I always say that in a 5 mins movie the subject will be himself (act naturally) for 10 seconds. All the rest will be forced. The same goes for photos. Portraits are tricky anyway.

[palob]

Very nice depth and color combination. I cannot find more words :clap: :clap: :clap:
Thank you for sharing it with us.

Pavol

[Biki]

very nice, you say? ......nice? ....Ant, this is stunning.!!!!

oh my, oh my.
you are my hero.!~!!!

there is something about you dear sir - that sits way above the rest.IMO

no clappies - or anything else - just admiration in it's purest sense. - wow!!

i bow.

[LadyJane65]

Yup, 2 thumbs up.

LJ

[Florian]

Hi Ant

Great work, this looks so fabulous, cant wait to see the finished portrait
:clap: :clap: :clap:

[chandlerjr]

Ant,
Truely amazing. Looking at the detail shot of her face, I have never seen someone use such a limited palette with such amazing results. Plus your edges are incredible! I wish I could watch you lay in your flesh colors just one day. I still can't believe your edges!
Larry C.


Larry,
my palette for today was raw/burnt umber, yellow ocher, sienna, ultramarine, flake white and cad red.

[Ant Carlos]

Larry,

For the flesh tones I forgot to mention Madder Deep, which was already in my palette. I tipped my brush in it sometimes. Also for the mouth.

Here's a frontal photo of the face. I worked more on the mouth and made some corrections searching for a better likeness.

Thanks guys for your nice words, and, Biki, you are just toooooo kind :)

bbs with more updates.

[palob]

Biki is right. It is stunning. Sometimes I have problem to find correct English words.

Pavol

[chandlerjr]

Ant,
You have mentioned twice now using Rose Madder Deep. Where do you tend to use it in your portraits and how (wet into wet, dry brush, etc)? I think I need to add Rose Madder to my portrait palette. Your results are superb! I hate to repeat myself, but I can't believe your edges--they are soft when they need to be and sharp when they need to be. Great work!
Larry C.
Larry,

For the flesh tones I forgot to mention Madder Deep, which was already in my palette. I tipped my brush in it sometimes. Also for the mouth.

Here's a frontal photo of the face. I worked more on the mouth and made some corrections searching for a better likeness.

Thanks guys for your nice words, and, Biki, you are just toooooo kind :)

bbs with more updates.

[Ant Carlos]

I use it wet in wet. It's Madder Deep (pv19, pr206, pv23). I don't use it always. Most of the times I mix Red with Ultramarine to get a more violet Red, then I have the white to make it rose, and yellow ocher to make it golden rose. But it's there in my palette so I use it as shortcut, although I am not a fan of those pigments.
I just had to use it to correct some colors in the face (her lower right cheek and nose). The digital camera is cruel and don't let the colors mix in the screen the same way it mixes in our brains when seeing the painting live. I attached another image.

[chandlerjr]

Ant,
This most recent photo really has my attention. I can see how you interplayed warm and cool colors--really making her skin come alive! What medium are you using? :clap:
Larry C.

I use it wet in wet. It's Madder Deep (pv19, pr206, pv23). I don't use it always. Most of the times I mix Red with Ultramarine to get a more violet Red, then I have the white to make it rose, and yellow ocher to make it golden rose. But it's there in my palette so I use it as shortcut, although I am not a fan of those pigments.
I just had to use it to correct some colors in the face (her lower right cheek and nose). The digital camera is cruel and don't let the colors mix in the screen the same way it mixes in our brains when seeing the painting live. I attached another image.

[Shehaub]

This is simply amazing. I have been watching this painting come alive and my jaw just drops. Your creative approach certainly makes this stand out. I bet your customer is going to be thrilled with this remarkable portrait. I know I sure would be.

I have learned a lot from watching this. Thank you so much for sharing your progresses and I look forward to seeing more!

[JamieWG]

'Always a pleasure to see your work and this time is no exception! Love the close-ups. Thanks for sharing your progress and process.

Jamie

[Classical Vince]

Vince,
yeah, that system works perfect for long distance commissions. Actually I record a small movie even of my local customers, so I can study their movements and capture some naturality. I always say that in a 5 mins movie the subject will be himself (act naturally) for 10 seconds. All the rest will be forced. The same goes for photos. Portraits are tricky anyway.

Im writing all this down! ;) I dont plan on doing long distance commissions but the movie idea is excellent.

I really like the progress! Youre doing an awesome job...omg...without a sitter! :eek: Can you tell me how much training you've had? Some people are naturally gifted with portraits but some of us (me!) have to work at it. :D

[Newberry]

Hey Ant Carlos,

It is a lot of fun to see the progress, and I like your ease in expressing yourself in painting and word.

Thanks for posting your wip.

Michael

[chandlerjr]

Ant,
I lined up all of your progress images on my computer screen last night from the very first to the last post. It was remarkable to see how you progressed from drawing to painting. It looks like you started off with a "white" canvas rather than toned. Was this to keep the key values high?

I some times do this (start from a white canvas) when painting younger people or my skin tones end up to dark. I would be interested in your feelings on this.
Larry C.

[Joe Rucker]

Interesting, when I do a realistic work I start with a raw umber background. I am not sure if anyone else does this but it works for me.
I just love how this thread has been progressing.
Please keep posting updates. :)

[guillot]

breathtaking work as usual Ant!!

I'm still curious on the red laundry marker (which would be a permanent marker, right?) I remember a long time back, we had a discussion in the oils forum about someone signing their painting with one, and it was brought up that the marker would bleed through to the back of the canvas. Just curious to know if you have had this problem??

Thanks and she's coming along just beautifully. Thanks for sharing it with us all.

Tina

[Ant Carlos]

Thank you all. You very kind :)

Vince,
I have always liked the human figure. I draw them since I was a little kid, and Michelangelo was my "mental mentor". When I was about 14 I painted a gf by instinct, never having had any art instruction before. It was the first time I used oil paints, and man, it ended up really good. I remember I used oil pastels over the dried paint, to add some details and highlights. Actually I was only trying to use something close to colored penciles, in handling, because I was only used to it untill then. That's when I started. And I am still learning...

Larry,
The medium I use depends on the stage of the painting. For the toning/imprimatura I use a mix of varnish+linseed oil+turp. The varnish is polimerized and acts as a siccative. For the underpainting I use linseed oil+cobalt drier (really careful on the drier) - in this particular work here I had to work with the alchemy with stress in order to get the coats drying in time, but trying NOT to take any risk for the future of the painting. As for the blank canvas, actually I toned it. I started the drawing in a blank canvas, but after lining it with the fabric marker I toned it really hard (I made the imprimatura and toning in the same stage, marking the larger shadows, to save time). I want a lower key for this painting. Classical, you know :)

Tina,
the fabric marker is not important in the end. I only use it because it holds there after my hard imprimatura/toning process. It doesn't bleed at all. It's just like some oil ink that sticks to the canvas and dries really fast. I isolate it with my imprimatura mixture, and so far it never showed up through the paintings.

Joe,
I used raw umber+raw sienna for the imprimatura/toning in this work.

Well, I progressed a bit more. Applied the final coat to the face (yes, 10 days after I started a layered painting from the sketch - I am lucky). Now only fine details missing in the face, so I started the hair. I'll leave those tiny details for the final act. The leaves and background are still in underpainting, but I keep it under control. I think I can make it in one session, after having solved all the major problems. Now my attention will go for the tips of the hair, and the body.
Immage attached (nigh shot, sorry for the glare).
Cya soon with more updates.

[chandlerjr]

Ant,
I can only say--you are a genius! Your talent speaks for itself. I only wish you were in the United States so I could visit your studio and watch you work.

Keep sending us updates and don't wait too long before showing us another painting in progress!
Larry C.

[Ant Carlos]

Thanks, Larry, for following me tru this journey.
I'm posting 2 close-ups (one super-closeup)

[Ant Carlos]

Hmm, that last close-up shows me a small mistake in the eye anathomy: the part closer to the nose (where the "lacrimal canal" is located) is too tight. I'll look at that.

[chandlerjr]

Ant,
Your edges still amaze me. What brushes (including size) do you use for the soft edges of the face??? Also, I assume you are using sable rounds for the details like the eye??? Thanks for being so considerate and answering my questions!
Larry C.
Hmm, that last close-up shows me a small mistake in the eye anathomy: the part closer to the nose (where the "lacrimal canal" is located) is too tight. I'll look at that.

[palob]

Wonderful! Thank you for every your post. Believe me, a lot of people follow you here.

Pavol

[artbabe21]

Ant...this is one glorious painting! REMARKABLE!! I'm so in awe of your talent!
Also that you took the time to share this with us when you were under a tight schedule!! :)

[Dana Design]

Yes, remarkable! Thank you.

[Ant Carlos]

Larry, the smaller brush I used in that painting was a flat #2, so far. No rounds yet. With a small flat brush you can use it's side and have thin strokes.

[guillot]

Hi Ant - thanks for the clarification. I believe they were referring to the marker bleeding through the back of the canvas, not through the paint. I'm sure you have a lovely light touch anyway in your drawing, as it appears to me anyway. Of course then - if one was using a panel, hey - wouldn't matter anyway, right? :)

Hey guys, don't forget to vote on threads!! Hall of Fame should be coming soon!! It would be a great honor to place this thread there when completed!!

Thanks again Ant for sharing your process, and lovely work with us.

Tina

[chandlerjr]

Ant,
Now I am truely impressed. I would have been bouncing back and forth between Filberts, Flats, and Rounds for the detail. Please tell me that you are using a flat Sable so I don't feel totally brush incompetent??

Please keep the updates coming and do another WIP soon! :clap:
Larry C.
Larry, the smaller brush I used in that painting was a flat #2, so far. No rounds yet. With a small flat brush you can use it's side and have thin strokes.

[Ant Carlos]

Yes Larry
it's a flat Sable. I love them. For the final details I'll use a #0 one (still flat) and only for those finest I'll pick a round one or maybe I'll destroy some older brush to leave only one or two hairs to make really thin lines.

Tina,
it doesn't bleed at all, not even in the back of the canvas. I use to ground my canvases, even the ones I buy already grounded, I don't trust and don't like their ground so I apply a new coat of acrylic resine. That may be a reason. I'm attaching a photo of the back of the canvas as it is right now... and another of the front.

[chandlerjr]

Ant,
I'm going to try your permanent marker trick myself. I believe you stated you use red ink????
Larry C.
Yes Larry
it's a flat Sable. I love them. For the final details I'll use a #0 one (still flat) and only for those finest I'll pick a round one or maybe I'll destroy some older brush to leave only one or two hairs to make really thin lines.

Tina,
it doesn't bleed at all, not even in the back of the canvas. I use to ground my canvases, even the ones I buy already grounded, I don't trust and don't like their ground so I apply a new coat of acrylic resine. That may be a reason. I'm attaching a photo of the back of the canvas as it is right now... and another of the front.

[Ant Carlos]

Larry,
I used red because there were few choices on the market(blue, black, orange and red), but i think brown would be better. Anyway, I only saw it as a way to save time. I still believe raw umber, thinned and applied with brush makes better result. After all, you only have to mark the most important areas. My high detailed pencil drawing was only for fun. Didn't mean anything during the painting process.

Today I worked on the leaves surrounding the girl, and took this bad photo :rolleyes: .
I'll be out of town for 3 days. Will resume the painting on monday, 21st. I checked with my local mail office and they said the pack will take (ONLY) 5 working days to get there. I had set the deadline for June the 20th because I thought it would take 15+ days, my Italian customer needs it before 8 of July. Of course I don't trust 100% that it will only take 5-7 days, so I'll still try to ship it the latest next Thursday (14 days sounds fair).

I'll post a better image when I resume the painting.

Cya,

Ant

[chandlerjr]

Ant,
Did you also use raw umber for the toning/imprimatura along with the mix of varnish+linseed oil+turp? Or, did you use various pigments for the toning/imprimatura?

I don't know if you have UPS (United Parcel Service) in Brazil, but I send packages from the U.S.A. to a friend in France using UPS, and they usually always arrive in 5 - 7 days. This last Christmas, I paided extra and was quaranteed delivery in 5 days to Southern France. Might be worth checking into--UPS is very reliable.

Your painting is looking great! I will be greatly anticipating your return on June 21 to see you resume your work.
Larry C.
Larry,
I used red because there were few choices on the market(blue, black, orange and red), but i think brown would be better. Anyway, I only saw it as a way to save time. I still believe raw umber, thinned and applied with brush makes better result. After all, you only have to mark the most important areas. My high detailed pencil drawing was only for fun. Didn't mean anything during the painting process.

Today I worked on the leaves surrounding the girl, and took this bad photo :rolleyes: .
I'll be out of town for 3 days. Will resume the painting on monday, 21st. I checked with my local mail office and they said the pack will take (ONLY) 5 working days to get there. I had set the deadline for June the 20th because I thought it would take 15+ days, my Italian customer needs it before 8 of July. Of course I don't trust 100% that it will only take 5-7 days, so I'll still try to ship it the latest next Thursday (14 days sounds fair).

I'll post a better image when I resume the painting.

Cya,

Ant

[Ant Carlos]

Yeap, I used raw umber as main pigment. But in this case I mixed raw sienna and flake white and made the toning/imprimatura/underpainting in 2 days.

The mail service I checked for is like your UPS. Nice to hear it works fine.. But I'll feel safer if I can save those 7 extra days :)

I'll leave town tomorrow morning.
Here's a new image. can't get rid of that glare.. jeeshh

Ant

[chandlerjr]

Ant,
This is a beautifu portrait! I can't imagine what else you will need to do when you return. I am assuming you consider this nearly finished except for the poetry?
Larry C.

Yeap, I used raw umber as main pigment. But in this case I mixed raw sienna and flake white and made the toning/imprimatura/underpainting in 2 days.

The mail service I checked for is like your UPS. Nice to hear it works fine.. But I'll feel safer if I can save those 7 extra days :)

I'll leave town tomorrow morning.
Here's a new image. can't get rid of that glare.. jeeshh

Ant

[Classical Vince]

Stunning work Ant, but I expected no less ;) Love the foreground and background! I know these photos arent doing your work justice so I'll have to wait until they are in a museum to see the true detail. :)

[Gia]

Thank you for sharing this great work!

[Ant Carlos]

Thank you Vince, Gia and Larry :)

It still has quite a lot to be done, but the good part is it's all fun from now on.
Details, corrections... well, I have 3 days ;)

[chandlerjr]

Ant,
Still keep us posted on your progress, and please post a final photo of the painting. This has been a special experience. Please do another Work In Progress soon!
Larry C.

Thank you Vince, Gia and Larry :)

It still has quite a lot to be done, but the good part is it's all fun from now on.
Details, corrections... well, I have 3 days ;)

[Ant Carlos]

More corrections, and details...
And yet a lot more to come.

[palob]

Gorgeous! I was waiting till it is finished to comment on result, but I could not wait. This is so beautiful!

Comparing last two, which one has better colors closer to original? BTW it remainds me game find 10 differences :D .

Pavol

[Ant Carlos]

Thanks Palob.
I'm doing slight corrections and adding thin details, so maybe it's not easy to see the changes :)
If you compare the 3 last photos you'll notice I modified the hair, aiming at more balance, worked a bit on the mouth, and did some scumbling on the face to achieve more smoothness effect.
As for the real colors, the digital camera distorts a lot. It enhances some colors (the orange you see in the shadow areas of neck and body doesn't exist. It's actually a lot cooler). I worked the skin tones tending slightly to pink, because it will yellow after some years and will then become better with time. I'm attaching this image, which is very close to the real one, at least in my monitor. Only the damn orange is annoying.

[Ant Carlos]

This image gives a good feeling of the tones.

[palob]

Thank you for reply. I know very well how hard is to reproduce all color and tones well in photograph. I usually fail miserably :(.

If you have Photoshop, it might be possible to fix one bad color especially if it is located at one place. Either try Image->Adjustments->Selective Colors or in this case Select->Color Range (Sampled Color option). But I would bother with this only for final image :).

Pavol

[Biki]

Ant - it is hard to believe you can improve on this painting - yet you continue to do so.

I actually find it thrilling to watch you.
Thank you so much for sharing.

[chandlerjr]

Ant,
For the detail and refining stage you are in now, what medium are you using with the oils to get the detail and control you want? Also, it is nice to see another artist hold his brush the way I do. I take a lot of criticism for holding my long handled brushes so far down the shaft--I now feel vindicated!

Great portrait--you are a modern master!
Larry C.

This image gives a good feeling of the tones.

[Ant Carlos]

It's finished and signed! I got better photos now, in the Brazilian morning light.
In a couple of hours it will be in it's way to Italy.

[Ant Carlos]

Detail...

Larry, in the final stages I always use the paint as it is out of the tube. Sometimes I thin it with linseed oil, but only if really needed.

[Ant Carlos]

And the poem is there, as part of the trunk...

[palob]

:clap: :clap: :clap: :clap: :clap: :clap: :clap: :clap: :clap: :clap: :clap:
No words are able to express myself, probably only I wish I saw this painting with my eyes as well as you working on it!

Thank you very much for sharing it with us.

Pavol

[palob]

And the poem is there, as part of the trunk...
Wow! This really killed me!

Pavol

[Ant Carlos]

Thanks Pavol. I am glad you like it.
Another close-up photo...

[palob]

After noticing those stray individual hair (and being broken by poem) I went to check your other paintings I've realized I had not seen them finished. So many details in them! You really belong to Old Masters! :clap:

Pavol

[Ant Carlos]

Here's the process I used to pack my wet painting:

image 1 - I attached 2 pieces of wood on each side of the canvas. I rolled the wood on thin plastic - those we use to keep vegetables in the refrigerator - to avoid small particles from falling the wood and sticking on the wet paint.

image 2 - I added pieces of 50mm EPS, also protected with the thin plastic.

image 3 - I covered it with an acrylic board, to provide extra protection against small particles, especially in the moment of unpack.

image 4 - another thick 50mm board of EPS over the acrylic and it's all protected now. More important, nothing touches the wet surface of the canvas.

image 5 - Pack ready. Some warnings "FRAGILE", "This side UP", "No piling", etc... and there it goes to Italy.

[chandlerjr]

Ant,
Watching you work the last several weeks has been an amazing experience. You are a true modern master! I have learned so much by watching you work. I only hope you give us the priviledge of watching you work again--soon!

I only wish I new Italian so I knew what the poem said--he must love her alot.
Larry C.

Detail...

Larry, in the final stages I always use the paint as it is out of the tube. Sometimes I thin it with linseed oil, but only if really needed.

[dcorc]

Wonderful, Ant! :clap: :clap:

(and we even get to see how you pack it! :) )

Dave

[*Deirdre*]

My first visit to this forum and I spot a masterpiece?
I take my hat off to you, sir!! :)

[Biki]

BRAVO !!! :clap: :clap: :clap:

NEXT PLEASE. :D

[Joe Rucker]

Thank you for sharing this process with us; this has been a real treat.
:) :clap: :clap: :clap: :clap: :)

[ElfeUra]

No words needed!
:clap: :clap: :clap: :clap: :clap:
Rita

[guillot]

Hi Ant Carlos - absolutely stunning work, as usual. Thanks for sharing everything with us, right down to the shipping!!!!! Someone is going to be so very thrilled with this painting.

We should be getting the Hall of Fame in a short while. I see everyone voted on this one (Thanks Everyone :cool: ), and it has earned it's well deserved spot in the Hall of Fame. Will place there when the upcoming changes are completed.

Congrats Ant Carlos !!!!! Can't wait to see what you are painting next!!!

Tina

[palob]

Hi Ant Carlos, I believe Day-D is here, so you probably have news if it was delivered without any problems (I am not asking if customer likes it, I am sure he does).

Pavol

[Ant Carlos]

Thanks Tina, Rita, Joe.

Palob,

Yes, it's already there :D

We tracked the pack during this time. It was received in Italy (Rome) on June 30th. But due to some importation issues it got stuck there untill last monday. My customer was contacted and he had to send them a declaration, via fax, in order to release the product. It was quite simple though, no major problems. Yesterday he received the pack. The painting is OK. Today is the D-Day, yes.. and my work is done :)

Cheers,

Ant