View Full Version : Young Picture of Margaret

05-05-2009, 09:14 PM

Title: Young Picture of Margaret
Year Created:
Medium: Oil
Surface: Board
Dimension: 16x20
Allow digital alterations?: Yes!

I leave this open to any and all cratique. I am basically teaching myself. I will tell you that I am struggeling to be free with my brush. I tend to get too tight with a great deal of detail. I actually succeeded to be a little looser, but still -- the eyes I think have too much detail. I want them to be more vague but don't know how without making it look like something with no detail at all. I don't seem to be able to find that place in the middle. I also have great difficulty with color.
When it comes to underpainting, I am not really sure I understand. Why paint the undertones when the white in the new layers just covers whats unde

Brushwork, color are of interest
Thanks to all who give input.

05-05-2009, 09:28 PM
The thing about white that may be helpful is to never ever paint it white. It should either be a warm off tone or a cool off tone depending on your paintings needs done very subtly. Then your final definitions and highlights are put down in pure white or as close to it as need be for your painting.
You have a good start, and you seem to know where you need to go...and you will!
I think you are confusing the problem of the eyes, there is not too much detail, it is just that what is there is painted with too much hardness, soft contours and disappearing edges,shadows and highlights are what is needed. The only hardness needed in the eye is the sparkle...very sparingly. Someone who knows portrait work can speak of the hows of this...

05-05-2009, 09:31 PM
I find the blue spike at the back of the neck uncomfortable....other than that I find her quite sensual...especially the taper of the neck

05-05-2009, 09:37 PM
Thanks Corby.. Some very good advice. That was a very quick reply. Putting it into action is another thing totally. I tend to paint, a layer that looks good but then when I put another layer on top of that it looks too chalky so I wipe it down, paint another I like but then wipe down again.. Finally, all the geso has disappeared and the canvas look raw, grainy with awful layers of underpainting showing.
Have you looked at the portrait channel? There is a painting demo by Aldobalding (?Albobalding) that shows the beauty of vague detail. I love his work. I will check yours out. Thanks again. :wave:

05-05-2009, 09:37 PM
This is lovely. I sort of see what you are saying about the eyes, but I don't know that I would have noticed if you hadn't said anything. She is beautiful. She actually looks like an old friend of mine, same warm, deep coloring. And yes, sensual.

05-05-2009, 09:40 PM
Hi BPC... Thank you for the nice input. I am trying to figure out what spike you are referring to. Could it be the chair back? I should fix that. Someone else probably see's it the same way.

05-05-2009, 09:43 PM
aquarianpaintress : Thank you. I was having questions about my painting but you have all said such nice things. Very helpful. Please tell me how to look at your paintings on the site. Is there a trick.

05-05-2009, 10:05 PM
Hi Margaret, I think you've got what it takes for success here. I think your priority should be the form or modelling and values. They are far more important than colour, unless you follow a more 2D kind of style. The values will determine your colours to some degree.

Here's how to avoid chalky light values. Use Titanium White first of all, but remeber it does tend to chalkyness. This especially the case with Cad Red and other opaque pigments. However the strength opacity and brightness is good to a certain stage in the painting. After that you will need to use a semi transparent white, such as Cremnitz, Flake White or Zinc White. If you use Zinc White then remember it is best to paint thinly as it is known for cracking when used thickly.

Learning how to paint loose and accurate will take time. The first thing is to be fast and not worry so much about absolute accuracy. It is important to be confident and assertive with the brush. Also remember if you want to paint lose then the size of brush will determine that, so use a large brush. I begin with a size 8 or 12 brush, then move down to a size four. I can use a size 2 round for detail. I rarely go smaller than that. If I do it is for that last detail.

05-05-2009, 10:13 PM
Isn't it amazing being able to get input from around the world? Your advice is immensly helpful. Large brushes may help out. I should also consider using a different white. I think I will try flake. Again... Thank you for the guidance.

05-05-2009, 10:14 PM

05-06-2009, 12:33 AM
wow......what gems from Mikey's fingers.....
I enjoyed that almost as much as I enjoyed this painting......it's so gentle....she is lovely....yd

05-06-2009, 04:22 AM
Hi Mitch. Some good feedback from our portrait artists (which I'm not), but I think your lady look fine. My only observation is the darkness under and around her eyes bothers me. Your doing fine so keep painting, they should only get better.............Lenore

05-06-2009, 05:17 AM
The circles under the eyes bother me as well. Thank you for the confirmation and feedback. I really want to learn all that I can.

05-06-2009, 08:42 AM
This is very beautiful Michelle :thumbsup: ...I would love to know what she is thinking .....

05-06-2009, 05:13 PM
Can someone telll me how to get this moved to "Structured Critique"? thank you

05-06-2009, 05:48 PM
Can someone telll me how to get this moved to "Structured Critique"? thank you
Michelle..... send a PM to Dana Design or Spyderbabe and ask them to move it to Structured Critique for you. :thumbsup:

05-06-2009, 06:08 PM
Or just repost it there.