Mother & Child - WIP

[Biki]

Ok what i do first is:

I work out my composition in the ratio to the canvas.
When i have that down, I print out the photo on A4.
Then i draw a line from corner to corner & corner to corner
then i draw a line to halve it both vertical & horizontal - sometimes, like this time,I also halve the four squares - it depends on how much detail is in it.

Then i do the same on the canvas.
This helps me to place the image correctly on the canvas.

(you can see in the photo i am sending, the lines drawn on the canvas)

with a watercolour pencil ( usually flesh coloured - but i couldn't find it today & went a bit too red) i draw in lightly the outlines that i can see.
Once i have this down, I go in with some paint.
- i work with a fine brush, and i use Old Holland "brown ochre light" - as i paint in the drawing, i will inevitably find some mistakes. I "take out" my errors with a brush that has a little turps on it - and so i wipe away my errors with turps. I try & use as little of the turps as possible. i am using only turps & paint at this stage.

this is SO in the beginning stages. I can see already so many errors, but i can adjust them tomorrow. - for instance, the baby's ear is not in the right position. - and the whole shape of the baby's head is off.

I also try & print out at the exact same size, any parts of the painting that i want to get absolutely right. In this case, the mother's head & the Baby's head.
if i do this, & have them pinned to an art board that is behind the canvas, i can eyeball any differences really easily.... by simply letting my eyes jump from one to the other quickly - you will notice that they move - ( just like a cartoon does) if anything is amiss.
Of course when i am painting from life i cannot do this, but for photos, this is a great tool to use.


http://www.wetcanvas.com/Community/images/12-Jul-2005/23158-9-july---1---WC.jpg

[Biki]

Day 2:


today, i just continued with my brown ochre light refining the drawing & correcting any mistakes.
then i went in with my darkest darks using OH Warm Sepia Extra.
I blocked in the background so i could see values better using a mix of Indigo Blue & Ultra blue.
then i put in the middle tones with the brown ochre - and pumped the highlights slightly with a scumble of white added to the brown ochre light.
i also used a little Venetian red in some places & put some cool shadows in with the blue/white mix.

i am almost happy with the drawing. I still need to adjust the mother's ear a bit ( too narrow) - and also of course adjust the head shapes - but that comes at the end when i do the hair.

On Sunday, and early today, I had thoughts that i couldn't do it. I always do that - then i just battle on & it starts to come together.
One thing that painting has done for me is give me courage. It takes courage to continue when things are not going well - and even more to persevere until i have done the best i can do.

Of course this is nowhere near finished. I have miles ahead of me yet.

http://www.wetcanvas.com/Community/images/12-Jul-2005/23158-12-july---2---WC.jpg

[dcorc]

Excellent, Tricia!

looking good, and a very clear description of approach.

(I've added one of those silly butt icons, to protect the puritans from discovering the actual functional purpose of the breast! ;) )

Dave

[jo_b]

Tricia- Wonderful WIP :clap: :clap: :clap: .
You are doing a great job! Thank you for posting it. Your method is far from wonky. I love seeing how other artists work their way through a painting, and I know that it is very helpful to new artists to watch the steps involved in the process of painting a "classical realist" painting.

Since you already mentioned the adjustments to the mothers head and the babies ear, one concern- her forearm looks a little to thin. I do hope you plan on putting in her hand that is holding the baby.

Great painting Biki! Keep at it!

Jodi

[DLJohnson]

Your works is ALWAYS so beautiful! I will be watching as this one goes along. I so appreciate those who take the time to show the WIP and give working technique as well. I always learn something and get inspired to try a different method or colors. Thank you.

Donna

[TempusFugit]

Thanks very much for posting this and explaining so clearly.
TF

[Biki]

Thank you for your comments. I am glad you are enjoying this.
I hesitate to post a WIP as i am still in learning stage myself, but i have learned from others in the past three years, so i also like to try to give back what i have learned.

If anyone sees anything amiss in my approach, feel free to speak up.

yes Jo, I haven' quite gotten down to the arm yet. I am going to take a ref pick of my neighbour holding her baby to get the hands in - so thought to leave the arms a bit vague in case i have to move them a tad.

I will have to pay special attention to the mouth at some point - perhaps toward the end, to get the expression just right. She has the sweetest little pout going on, but even if i am a teensy bit off in that, i will lose the expression.

[Biki]

I won't be working on this again until Friday, but my next step is to put both the original pic & the pic of the painting side by side on the computer screen & see where it is off.

I tried this today & it was way off. However, when i looked at the canvas, it was not so way off at all. I think because my photo of the painting was not squared up & so there are distortions. (Is there a trick to that, anyone .... getting it squared up?). I will take another photo tomorrow & see if i can get it any better.

This is a good thing to do tho, to see any variations. If the images are the same size, it is usually not too hard to pick the errors up.
I usually do this over & over again at this stage of the painting before I begin again = when i think all is cool - but then find out it isn't. :eek:

How would i get on without the computer to help me, i wonder.?
Well, for one thing, I wouldn't be showing anyone the original pic - so i would possibly get away with it. :p

[rosebard]

Biki great start!! :clap: :clap: :clap:

Thanks for posting as a WIP and for let us know how you are approching this lovely inspiration. Well done!!

:D :cool:

[Biki]

Thanks Rose, - glad you like it.

My laptop that I use in the studio died today - or at least the video card did. :( It is with the tech & I hope i get it back tomorrow.

I did a little more tho from the printouts, but cannot see detail without the computer screen. I will work on it another hour or so & send some pics tonight or tomorrow.

[dcorc]

I tried this today & it was way off. However, when i looked at the canvas, it was not so way off at all. I think because my photo of the painting was not squared up & so there are distortions. (Is there a trick to that, anyone .... getting it squared up?).

There's not an "easy trick" so far as I am aware - best thing is to take some precautions with the photography (as per the hints I posted in the sticky at the top of the oils forum) - in short, get as far back from the painting as possible, make sure the camera is square-on to the painting Use a tripod!! and use a long focal-length lens so as to minimise lens distortions.

Dave

[bjs0704]

Biki - Thanks for showing us your procedures! This should be a gorgeous painting!

I like the backing board on your easel. It’s a very nice set up to allow you to compare your source material to your final painting.

Your explanations of your process are wonderfully clear! I really enjoyed reading about how you use the computer to check your accuracy!

Good luck with everything!

Barb Solomon :cat:

[bjs0704]

Biki - I was wonder what method you were using. I have used different types of grids over the years, but I right now I use a 4 by 4 grid. I make sure that my canvas and photo are in the same proportion to each other. ( A 3” x 4” photo could be blown up to 6” x 8” or 18” x 24” for instance.)

Then, I grid the original. I divide each side in half. And then into quarters. I mark the final canvas the same way. This give enough marking to help you keep proportion!

I hope that I am clear and that I understood your question!

Barb Solomon :cat:

[Biki]

Hello Barb,

No, i was not asking about grid, but rather how to photograph your painting without causing distortion.
s'ok tho. Dave has answered. Thanks Dave. :)

[Biki]

My next step, knowing it is not perfect, is to photograph the painting & view it side by side with the original.

I have done this several times, but this time I will show you what I can see. These notes I will take into the studio tomorrow.

I am looking forward to getting my drawing right, so I can start whacking some paint on.

I am showing these in greyscale, because I find it is easier to see if my brain is not having to also deal with colour.

Mother:Lower Elbow
Take wrist higher on curve
Lengthen nose
Lower lip
Chin rounder
Neck highlights all wrong
Make shadow on arm smaller
Lower brow at curve

Baby:
Lower eye
Make Inside of ear smaller
Make line of back straighter
Make shoulder higher.

I will do a final check after these adjustments before I start applying slightly thicker paint & concentrating on values to a higher degree.

I know the head shapes are also not right, but I will leave that until closer to the end.

I have just blocked in a window here – what do you think. It is a bit like Richard suggested, but at a different angle. I will have to find a reference somewhere to copy from.

My neighbour has still not come in for the pose on the hands. I wish she would hurry up.

http://www.wetcanvas.com/Community/images/16-Jul-2005/23158-16-july-5-BW---WC.jpghttp://www.wetcanvas.com/Community/images/16-Jul-2005/23158-canvas-size-adjusted-WC.jpg

[Smile-a-while]

Thanks for explaining it so well, you are doing a nice job with it all. I really am looking forward to seeing it develop. It already has a special feel to it. Well Done.

[ksssigns]

I like your work very much,

I am actually a sign and graphic design person and as I copy a lot of artwork provided by my customers and it seems my method may work for you in getting a correct perspective. Actually I compared your photo too your drawing and you are very close. Alas, if you are like me you seek perfection.
Anyway I simply took your image of the drawing and the photograph into my Photoshop program and pasted each on a seperate layer. I reduce the opacity of the one layer so I can see the other behind it and then resize the transapent layer to match the other one. The differences show up and can be corrected as you see fit.

In another line of thought and I apoligize if I am out of line as I am not an artist but the actual accuracy in painting from models is a matter of discussion between Eser and myself occasionally. The artist has total freedom of expresssion and emphasis and or accuracy in painting the subject. Slight discrepancies are not as important as technique and balance of the painting. Painting from photographs is really difficult to achieve the depth and quality that you are trying to achieve.
I do photographs of the models and we use those for reference only as you appear to be doing. To achieve the tonal depth and dimensional effect the model is best.
But unfortunately can be expensive (hope you have good modelling friends).

I talk too much .... hope this helps

ksssigns :wave:

[Biki]

thanks kss

i have heard of that opacity thingy in photoshop before, but don't know how to do it (yet). for whoever is reading there is a new book out by Lillidale all about "photoshop for artists" It is on my "list-to-do".

I will see if i can find the link.

http://www.lilipubs.com/scripts/shopplus.cgi?DN=lilipubs.com&CARTID=%cartid%&FILE=/shop/PhotoBook-PrePub.htm

here ya go. you might have to shorten it.?

so much to learn - so little time.

[jo_b]

Hi Tricia :wave:
Just anxiously waiting for an update of your painting! how is it coming?

Jodi

[Biki]

Hi Tricia :wave:
Just anxiously waiting for an update of your painting! how is it coming?

Jodi

i am still working on the drawing when i can steal some time.- which is not often enough. :(

[Biki]

I worked some more on the drawing today.
I feel it is now at a stage where i can start putting paint on.

Tomorrow I break out the amber medium & have some fun.
I will continue to refine the drawing as i go & start playing with values & colours in earnest.
This is the stage i love the best - letting the paint do some work. :)

http://www.wetcanvas.com/Community/images/22-Jul-2005/23158-22-july-2--WC.jpg

[Biki]

background decisions.!!

opinions please.?

http://www.wetcanvas.com/Community/images/22-Jul-2005/23158-22-july-3---NET.jpg

[dcorc]

Have a look at Matt's advice to Jon/Moosehead here:
3705036

:)

Dave

[Biki]

Have decided to stay with the green for the time being.
I really like it. It has a serenity about it. It looks much better in real life ... kinda creamy ... whereas this looks grainy in the image.

Anyhoo, today i spent the morning walking the dog & making a delicious Indian lamb curry. ( we had a tast for lunch, so we know it is good :p ) Then, i just worked a little on the values/hues of the mother. I can see already that they are off, but it is just the first layer & easily fixed.
I haven't addressed the hands yet.

I also whacked a little left over paint on the baby, but didn't really work on it.

Even tho nobody is really watching this WIP except my friend smileawhile - it makes no never mind coz i am quite used to talking to myself. :p :D ( well, it is not really myself that i talk to, but my imaginary friends. :p :D )

http://www.wetcanvas.com/Community/images/23-Jul-2005/23158-23-july-7---WC.jpg

[dcorc]

Hi Biki :wave: - I'm sure lots of us are following along with great interest, so you are not talking to yourself, I can assure you :) This is looking good, and personally, I think the lighter background works much better than the darker one. The lighting on your subjects makes more sense in the context of a higher ambient lighting situation.

The hands are looking good, actually - just keep going :)

Now, my imaginary friends keep demanding equal access time using my computer, so I'd best move along :D

Dave

[TempusFugit]

Even tho nobody is really watching this WIP except my friend smileawhile - it makes no never mind coz i am quite used to talking to myself. :p :D ( well, it is not really myself that i talk to, but my imaginary friends. :p :D )


Hi Biki :wave:

If, while talking to your imaginary friends, you wanted to explain to them how you use amber (in paint nuts? oiling out) and if you've added any colours to your palette for the overpainting stages , me and my imaginary friends would love to hear about it.

TF
:)

[Biki]

Hi Fugi.
I looked at your name & my imaginary friends decided on my nickname for you. (pronounced "foogie") :D Did i mention that they are all leprocauns.? - cute little people in funny hats.

Good question:
I added a little cad yellow to the background.
and have decided to use Blue Black for the hair.
I also have used a tiny touch of cad yellow & cad red to experiment with the translucency of the baby's ear. Any suggestions of how to accomplish this is most welcome.

I don't add the amber to the paint nut. I have found that it will dry up my paint on the palette too quickly. I just put a teensy bit in a little bowl at a time & dip the tip of the brush in it. If i put too much in the bowl, i might be tempted to dip deeper.

thanks for looking. :cool:

[WV.Artistry]

[QUOTE=Biki]Even tho nobody is really watching . .

If people are talking to themselves it's impolite to interrupt :)

[rosebard]

Hi Biki I am watching!! I am busy, but not that busy to follow a good WIP!!

Could you talk about the variations warms/cools you used and how you used them?
Thanks in a advance about anything you can explain about it.

[Biki]

Hi Rose,

i will try. Right now i cannot get a decent image of today's work.
It is so grainy.!! - and the subtleties of the temperature is simply not evident. :(
I guess i need to take a course in photography, - or get a decent SLR digi camera.

I really have no idea why some pics work & others don't.

I had fun today putting in the baby's hair :D - all that soft fluffy stuff.
what i did was use a bristle brush i had "cut into" - so that it was uneven, with only a few bristles there to use.

speaking of which, i was thinking about how to do really fine lines.
recently, i saw an aboriginal painting on the sidewalk. He had the most amazing brush. It was a single hair , (curved) of something, taped to a thin stick.... he was using this to make his thin lines. I have no idea what it was made of, ... i must find him & ask.
anyway, today i thought of doing the same with a broom hair. I will pluck one tomorrow & let you know how it works. :music: :wink2:

sorry i cannot show you. i don't know why my images all turned out so grainy today. :(

[Smile-a-while]

Can't wait to see the pics of your wip.

Last year I made brushes from bamboo and the hair from my dogs (one has wirey hair and other soft). I found that it certainly is a technique to get the hair running in the right direction for the brush to be valuable. I also got hair from the hairdresser and tried to make brushes. The sweepings are not good to use, you have to use clean cut hair from the initial cut and place in glad wrap to conserve the natural flow.

Have you decided what pallete you will use for flesh colours?

[Nickel]

Thank you for the wip Biki! :) It is very interesting! Nickel

[Biki]

Hi Nickel - thanks for looking. :)

Hello Smile,

I thought i had given my full palette in the beginning. OOPS!
so thereford Fugi, you had better read this before my answer to you makes any sense.

Here is the palette i have adopted of late & am pretty happy with what it can do. This is the Palette that Jeffrey Gold uses.

All old Holland brand.

Cremintz White
Yellow Ochre
brown ochre light
warm sepia extra
venetian red
ultramarine blue.

That’s it.!
I make my violets from this & also my greens.

I am still discovering just what this palette can do – and how to mix them & make them work. I fumble around a lot not really knowing where i am going until i "do" it.

One thing that Jeffrey did tell me, is NOT to mix the warm sepia extra with the brown ochre light.

I prepare my palette rather slap hazard – with just a few values of each.
I will try to remember to take a pic next time.

Please remember that I am not an expert. I am just sharing what I have learned that seems to be working for me better than past methods.
I am sure my methods are full of errors. And if Jeffrey ever read this he would roll on the floor laughing…. And then he would probably throw up. :D

[rosebard]

Hi Biki!! No problem, whenever you have a chance to do it. I am patiently waiting for your input on the way you are working this warms/cools variations of values.

Oh well I have simpathy to your difficult with cameras. I take bad shots myself, most of the time.

In Brazil, there is a brand of brushes that make brushes especially for hair and grass texture, but tell you the truth, havent found my way of using them yet.

Looking forward for your next update.:D

:wave:

[Biki]

I got a slightly better photo this morning. It is still rather grainy tho.
Perhaps because the canvas has a open weave - not as fine as i usually prefer.
sorry Rose, You are still unable to see the greens & violets i am using.
perhaps after a few more layers of paint.? :confused:

http://www.wetcanvas.com/Community/images/24-Jul-2005/23158-25-JULY-3---WC.jpg

[TempusFugit]

Hi Biki,



I also have used a tiny touch of cad yellow & cad red to experiment with the translucency of the baby's ear. Any suggestions of how to accomplish this is most welcome.



Sorry but I don't know how to achieve "translucency". How do the experienced achieve the "glow" I wonder?



Please remember that I am not an expert. I am just sharing what I have learned that seems to be working for me better than past methods.


Your rapid progress is inspiring and it's helpful and informative to see your process.



If i put too much in the bowl, i might be tempted to dip deeper.


Some situations call naturally for restraint.


Thanks for listing your palette. You do alot with this small selection.

Your paintings always have a kind of unique and harmonious feel about them, and I think this is coming along wonderfully.

Have you decided against that particular window? For me, it didn't fit with the rest of the rhythms, curves, and timelessness, that's just my opinion, maybe it depends on what you're trying to say?



fugi-TF :)

[Biki]

Have you decided against that particular window? For me, it didn't fit with the rest of the rhythms, curves, and timelessness, that's just my opinion, maybe it depends on what you're trying to say?



fugi-TF :)

thanks Fugi. :)

no - i won't put in the window. Sometimes less is more. and i always have to keep reminding myself to kiss. :wink2: :wink2:
(keep it simple, stupid) :p

[jo_b]

Tricia, She is Beautiful :clap:
I absolutely love the background shades, and the lack of the window. Much improved!
Two comments, One, there seems to be a dark halloing around her and the baby , like a shadow on the wall behind her, which makes no sense, since the light seems to be coming from the viewers left side. and two, there is also what seems to be a striping effect on her arm of the highlights shadows and shadow accent. I an not sure if these things are really there or just an effect of the photo, but I thought that I would point them out. The hands are looking good! And I Love the expression on the mothers face!

Jodi

[Biki]

Hi Jodi. Nice to see you back.

Yes the background just has a thin layer of paint at this stage. The dark halo will be fixed when i add more aint & push my edges together.

As to the arm, we still have a few layers of paint to go on there yet. :wink2:

[CarolChretien]

Just too many paintings to comment on this in the WOYE oil thread....so I followed you here :wave:

Biki, this is fantastic and I think your best piece of work so far! :clap:
just wonderful!

[Biki]

Thanks for visiting, Carol.

I appreciate your comments. You know how much i admire your own excellent work.

I get to work on it some more tomorrow.
My usually midweek painting day, got gobbled up by "the business". :(

[Nickel]

I also have used a tiny touch of cad yellow & cad red to experiment with the translucency of the baby's ear. Any suggestions of how to accomplish this is most welcome.




I had to stop and think, but I remember this glaze in my notes, maybe you can try this on a sample piece of work, I have used this before, but it really depends on the surrounding color, and also depends on the underpaint, etc., Have you ever heard of this one? It is nice to have advice from Jeffery Gold, your a lucky girl :cool: But your still the woman behind the brush. :D

Glaze

For shadow

Cad red light, ultramarine blue, yellow ochre, and a small touch of white

Then mix 3 to 5 shades from lightest (almost white) to darkest you desire of

White, yellow ochre, and a small touch of cad red light,

Use for middle to light tones, adjust as necessary by removing some glaze to show underpainting.

Nickel

[Biki]

I had to stop and think, but I remember this glaze in my notes, maybe you can try this on a sample piece of work, I have used this before, but it really depends on the surrounding color, and also depends on the underpaint, etc., Have you ever heard of this one? It is nice to have advice from Jeffery Gold, your a lucky girl :cool: But your still the woman behind the brush. :D

Glaze

For shadow

Cad red light, ultramarine blue, yellow ochre, and a small touch of white

Then mix 3 to 5 shades from lightest (almost white) to darkest you desire of

White, yellow ochre, and a small touch of cad red light,

Use for middle to light tones, adjust as necessary by removing some glaze to show underpainting.

Nickel

That sounds good Nic,
Is this to glaze over a verdaccio.?

Jeffrey help.? - i gotta twist his arm tho. :(

[Nickel]

[QUOTE]That sounds good Nic,
Is this to glaze over a verdaccio.?

You could use it over a verdaccio, but I just looked back at your underpainting, so just think of this glaze as warm, it you are not looking for warm, don't use it, warm brings things closer, although I know that is debated, and that might not be where you want to take it, just my thoughts here.

Jeffrey help.? - i gotta twist his arm tho. :([/

That's funny :wink2:

Best, Nickel

[Biki]

[QUOTE=Biki]

You could use it over a verdaccio, but I just looked back at your underpainting, so just think of this glaze as warm, it you are not looking for warm, don't use it, warm brings things closer, although I know that is debated, and that might not be where you want to take it, just my thoughts here.

Best, Nickel

Here is what David Lefffel says about this - and i tend to agree with him
( tho i know nothing :p ) - at least it sounds good. :D :

IN LIGHTED AREAS

WARM colours ADVANCE
COOL colour RECEDES

In SHADOW areas
The OPPOSITE applies

[Biki]

Oh what a blissful day.!!

I finally got back into the studio - first time since last weekend. :clap:

It is soooooo much fun .... listeneing to my music as i dance with the dust. :p

The last song played is still ringing in my head:
Leonard Cohen. I'm you're Man - "Tower of song"

"I ache in the places where i used to play
- i'm crazy for lovin', but i'm not comin' on." :p

anyhoo - here is today's effort.
Still lots to do.
I worked mainly on the hands - reforming them
- whacked in a bit of the fabric
- whacked in a bit of hair
- re worked the background ( more to do)

I will now become more & more critical - and look harder & harder to see what is what.

I am disappointed with the paint. I think it is the surface i am working on - it is not as tight a weave as usual. I compromised & used an old "canvas over board", simply to grab the canvas size i wanted. :(
No matter - some folk like to see the weave. :wink2:

http://www.wetcanvas.com/Community/images/29-Jul-2005/23158-29-july---4---WC.jpg

[Smile-a-while]

Hi Biki, I like your whacking.

[Grasshopper]

I read every word of this thread (more appropriately, I ate it up). Biki, your words were understandable/well said. Your work is marvellous. Didn't the woman have a bit of her hair that strayed hanging over her forehead somewhere, in the original? I'd like to see that put in at some point, unless it's inappropriate for you.

In your first post you explained what your methods are & the setup at your work station. I, too, take pictures of areas I think I'll need a closeup of, and I also keep the picture up on the computer, which is located behind me, so I can see the original image clearer. I'm going to try your method for gridding. I usually draw the outline upside down, then compare that outline to the original and work from there. Sometimes it works, sometimes not; it strictly depends on whether I got the outline exactly correct. I'm simplfying, obviously, but anyway, I could see right away that your method was so much better!

Keep up the concise wips. You're wonderful to share them.

[DLJohnson]

Hi Biki,

What a beautiful painting! Fabulous even! It's so perfect, the skin, the likeness, everything. Thanks for all of the valuable info, took notes on the palette to try after pastel dust settles, lol. Your teacher will be proud I am sure. I was kinda bugged by the pointy thing on the back of her head so I went back to the photo to see if her hair was pulled up or a pony tail. I hate to say anything negative about a piece that is so obviously excellent but wonder if it doesn't draw attention from the rest. Am I nitpicking?

Truly wonderful! :clap:

Donna

[Grasshopper]

In Drawing and Sketching Forum the article, "Using Photoshop to Evaluate Preliminary Sketches" it tells how to compare your sketch/painting to the original in PS. Works great.

[Biki]

Grasshopper, I am still considering that stray hair. I don't think i can pull it off tho, so i might leave it out.

Donna, - the pointy bit: I am still deciding whether to take it out altogether, or make it into a bigger bun. If i make it into a bigger bun, i will need to find a reference somewhere. :confused:

Thanks for your comments. It is nice to know that someone is watching. :D

[Biki]

So i am nearly finished. Still need to work on the fabric, but apart from that it is just some fine tuning here & there.
This is the stage i like the least - you pile up the paint on the palette for just a few this & thats .... and even then, i can see some adjustments needed, but then i get to the point where i don't know how to make it any better.

This is the most frustrating part for me. The rest is pure joy.

Thank you all for your encouragement along the way. The rest is up to me. :eek:

http://www.wetcanvas.com/Community/images/30-Jul-2005/23158-30-july-4---WEB.jpg

Oh - I forgot to mention that one of the final things i do is to posterise my image into 12bits & then do the same with my painting .... just to check out my values. As this is a really bright pic, it does not match up, but it is as close as i need it.

I will do this again finally before the end.

http://www.wetcanvas.com/Community/images/30-Jul-2005/23158-original-pic---BW-posteriz.jpg

Iwish to add that everything i have shared here, I have picked up from others who have shared with me. .... and i thank them from the bottom of my heart.

[DLJohnson]

Hi Biki,

I would say she is finished. The bun made sense in the photo but in the painting it was too small. Now it's perfect IMHO and doesn't draw too much attention. I was imagining 50 years from now that her great-grandchildren would be poking fun at gramma with the pointy head.

The realism is excellent, and likeness, too. Very natural. The skin is perfect. Has she seen it yet? She must love it. Will you enter it into a contest? You should!

Donna

[Grasshopper]

As talented as you are I'd think you could have added that stray hair, but, that's easy for me to say. This is a great painting; very well done!

[rosebard]

I got a slightly better photo this morning. It is still rather grainy tho.
Perhaps because the canvas has a open weave - not as fine as i usually prefer.
sorry Rose, You are still unable to see the greens & violets i am using.
perhaps after a few more layers of paint.? :confused:



Hi Biki, you rendered it in so softly. It really looks nice:clap: :clap: !! Your friend going to love it for sure!!!

I am trying to see the greens and violets you used in your last pic. I can see the creamy yellow and red on the skin tone. Also some violet here and there, but cant see the green. If there is no trouble for you could you try to show using closeup shots. Sorry to give you extra work here. But as you were willing to help, and surely what you pointed out is an important issue for painting realistic as you told me, I would think that it would help a lot to give some kind of extra explanation using your painting as example.

Thanks a lot for being kind enough to share what you have learned!!!

:wave:

[Nickel]

Biki, Mother and Child, they are beautiful! Bravo!

I just love the baby’s cheeks, this is my favorite part; he/she is a hungry little munchkin with a sweet loving momma. The story is good! :)

Thank you so much for sharing the work process. :wave:

Nickel

[TempusFugit]

Hi Biki,

I also think this is just marvelous. :angel:

Thanks again for explaining, and showing.

TF-fugi

PS- Leonard C is a treasure. :music:

[dcorc]

Absolutely beautiful, Tricia - you do just get better and better!

Dave

[Biki]

Thank you, friends. :)

Sorry, Rose. I forgot.

Here is a crop of the mother's arm.

It is not very clear because it is too griany.
If you look hard, you will see that between the creamy lighted area, and the pickish bit - there is a violet bringing them together.
Then at the back of the arm and also down near the elbow, there is green.

I painted what i saw in the photo by looking very hard at it. I don't know how this would stand up as being true & correct in real life tho.

It was Dan Gerhartz who made me aware of this in his DVD. So too, copying a Bouguereau helped me to see this also.

But like i said earlier, I do see these colours when i look at people. They must think me weird to stare at them so. :p

http://www.wetcanvas.com/Community/images/30-Jul-2005/23158-30-july-4.--crop-arm_WC.jpg

[rosebard]

Yes, I could see them before. But I can see it better on the close-up. Thanks for showing.

[jo_b]

Tricia- you did a FANTASTIC :clap: :clap: :clap:

Jodi

[Biki]

thanks, Jo.

But it ain't over yet. :p
Someone on another forum suggested she needed a lap.
I entirely agree - so now she has one. :D

I am still fiddling. It is almost done. I just want to improve it in tiny places for the critical up close & personal viewer.
I will do a little glazing also for the shadows upon the white fabric.

I wish i could show you the baby's hair. It is so cute.!! - but i just cannot get a sharp enough image.

Does the fabric work.? Dave.? - cos i just fudged it .... didn't have anything to copy.

The final thing i will do is glaze over the entire figure with the amber & a teensy touch of brown ochre light.( ala Jeffrey Gold :) )

I am pretty happy with it except for the surface. I will never use an open weave again. I simply cannot achieve the "finish" that i managed with "Mehera".

Live & learn, huh.?

http://www.wetcanvas.com/Community/images/31-Jul-2005/23158-31-july-6---WEB.jpg

[bjs0704]

Biki - It’s looking great! You’ve really done great job on this one!
:clap: :clap: :clap:

Barb Solomon :cat:

[WV.Artistry]

The final thing i will do is glaze over the entire figure with the amber . . .

Would like to see many photos of "stuff" with very technical information on your approach to that procedure including materials, brushes, brand, etc., if you don't mind.

tnx.

[Biki]

Hi Rich,

I have already covered the paints & brands - and the medium.

As to brushes - i use so many different kinds.
I fiddle around a lot trying different ones.


I will try & take some picks for you tho. :)

[dcorc]

Tricia - I think the fabric works fine. No problem there. :)

I think Richard wants to know about your Amber glazing, specifically?

Interesting about your comments re the open weave canvas - as you know, I usually try to decrease the texture as much as possible with additional primer applied by knife.

Dave

[Biki]

Tricia - I think the fabric works fine. No problem there. :)

Interesting about your comments re the open weave canvas - as you know, I usually try to decrease the texture as much as possible with additional primer applied by knife.

Dave

Thanks Dave.

I am nervous about doing anything extra with the surface because i don't know what i am doing. Remember that time i thought i would give it a try & the paint wouldn't adhere.? :(

[Biki]

Here ya go, Rich.

some of the brushes are head first in the turps here.
and also a piccy of the Amber.

Anything else , be specific, and i will do your bidding.
( within reason, of course :p - i am a married woman, after all :evil: )

http://www.wetcanvas.com/Community/images/01-Aug-2005/23158-amber---WC.jpg
http://www.wetcanvas.com/Community/images/01-Aug-2005/23158-brushes---WC.jpg

[Smile-a-while]

Congratulations Biki, it is a beautiful and spiritual painting. You have captured the essence in the bonding, well done.

The green background works well too. I am glad you changed the bun in her hair as the smaller version wasn't working, the lap is a good addition as well. Dan's DVD has made an impression on you by the sounds of it. Thanks for posting photos your setup looks very professional. Thanks for sharing.

[Biki]

Thanks, Smile.

Your feedback is most appreciated.
I know you have helped me much along the journey of this painting, and I thank you for your kindness & friendship.
Sometimes it is the "heart" responses that speak the loudest.
- and then again - the "gut" stuff is the stuff that pushes us beyond boundaries that we would previously not have imagined.

It is all good. - and most beloved & appreciated.

I think i am experiencing a loverly wobbly moment here at this mini. :music:

just a mo of overwhelming appreciation for you buggars. :p

[DLJohnson]

Hi Tricia,

It just gets better and better. The fabric is beautiful and the lap does make a difference. Very realistic and the skin is perfect. The detail shots really do show it off and are helpful to me to see. The painting is just beautiful, so real and warm.

I will have to go back and see what this amber stuff is all about.

Donna

[Biki]

thanks Donna, :)

I did some final fiddling today & took some pics, but this is the only one worth showing.

I either have to take some photography lessons, or get myself a decent camera. In the meantime, I will take some more in the morning light & see what happens.

http://www.wetcanvas.com/Community/images/04-Aug-2005/23158-4-aug---close-1---W-EB.jpg

[bjs0704]

Well done, Biki!

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

Barb Solomon :cat:

[Biki]

Better pic in the morning light.
The colours are off ( too blue) - but at least it is nice & clear.

The last thing i will do is glaze all over the figures with the amber & itsy bit of brown ochre light - but it will make no difference with a camera image - so count this as final unless i get more nit pics.

You must be all quite sick of this by now. :p

http://www.wetcanvas.com/Community/images/04-Aug-2005/23158-5-aug-1---WEB.jpg

[Biki]

I just fixed the colours in photoshop.
This is closer to real.

http://www.wetcanvas.com/Community/images/04-Aug-2005/23158-5-aug-1---WEB.jpg

[katz]

:clap: :clap: :clap: :clap:
Wonderful, emotional painting.
You did an awesome job, congratulations!!

Gay

[campsart]

This is a very nice piece. I think the little hand on the mother's breast speaks volumes...life sharing life.

Well done. Bravo...

David