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Old 05-07-2017, 04:43 PM
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Use to denote nudity/mature subject matter Glasses

I found myself intending something and changing my mind in mid-stream, again and again, throughout this painting session. I wish there was more time within each hour! I might change my objectives to just go slower, not aiming to finish, you know? I do like the departure into a bit of inventiveness in the background.
The model is a friend, which makes me happy as I like to paint people I know (a rare enough occasion).
16 x 20 " oil on canvas. Critiques welcome. With permission to post the model's photo.



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Old 05-08-2017, 03:59 AM
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Re: Glasses

Keeping in mind Bill’s advice on composition and design Libbey here is a link you might find of interest in putting that stuff into practice.

Dave.
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Old 05-08-2017, 06:16 AM
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Use to denote nudity/mature subject matter Re: Glasses

A good start Libbey the foreshortening is working well.

Seeing that chair is in all your paintings you could do a strong study just on the chair without a model then you will find it less troublesome in painting with a model because you already know the chair by heart.
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Old 05-08-2017, 11:07 AM
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Re: Glasses

Hi Dave. Hi Bill. Thanks for commenting.

Dave, Procedure is my problem here, and the article is appropriate, thanks. It helps me analyze the way I put the paint on. Do I wash and wipe, (Bethany), draw with opaques (Perrin)? How thick is the underpainting? When is the wash left as is and when is it intended to tone or tint? Perrin lets the underpainting dry overnight at least in one of the examples. What I did was cut the pencil drawing to use as a stencil. Then I relied too much on the outline, boo! I've done this procedure before in this class but not recently.


Bill, why do you say the foreshortening is working well? Rats, it isn't. His foot looks broken and his head is too small. If I'd had my wits about me the big sleeve would have been smaller and his legs more related. Yes, the chair, again, looking like I'd never seen it before I know, I didn't get the perspective, even though I consciously tried at the end ( hence the blurred foot). Oh well, thanks for your encouragement.
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Old 05-08-2017, 02:54 PM
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Re: Glasses

His hands were what struck me. His left seems much further back than the right, the opposite of what the perspective is telling us to be the case.
In spite of inconsistencies your portrait figures always have a lively and convincing presence and a good likeness to their subject. Surely these are the main qualities We look for in a portrait.
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Old 05-08-2017, 05:09 PM
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Use to denote nudity/mature subject matter Re: Glasses

I see what you are saying, thanks, Harry, in the painting more so than the photo. His left hand was at the level of the book, whereas the right over the end of the chair arm. Maybe if I modified the chair to overlap more...

Did a bit more on it this afternoon, the dark background was what I had in mind initially.

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Old 05-08-2017, 07:39 PM
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Use to denote nudity/mature subject matter Re: Glasses

Libbey I don't trust the photo knowing you take the photo at the beginning of the session and there would be breaks and a resumption of the pose with minor changes so I don't compare the painting to the photo to see whats off. I also don't like commenting on a work in progress because there will be changes/decisions made by the artist anyway and I like to take the position of lets see what they see unless it is something that needs to be said.

At this stage of the painting I wanted to encourage you and I could see you were getting the foreshortening even if you are more critical of yourself than I. As Harry says there is a sense of presence in this work.

Paintings and drawings are continuous modifications as we reflect on them, how much time are you spending in just looking at the painting? We can only change what comes into our awareness and you seem to be more aware of your errors now. These paintings are your research and development you can only get better.

So that you are not chasing the model each time they move it's a good idea to nail the pose and relationships at the beginning and use the model as a reference for the pose you have set up. I have chased models on canvas and I know how frustrating it is when things change in a group setting.

For me the issue of balance stands out as I look at the painting it feels like it needs something to counter the off centre pose and setting.
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Old 05-10-2017, 06:11 PM
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Re: Glasses

Libbey nice work with a pose that I think is a little awkward and challenging.

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Old 05-10-2017, 06:37 PM
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Re: Glasses

Yas, I know I shouldn't chase the model around the canvas, I know, but I do it anyway especially when someone points out something. But hey, your chair comments are finally sinking in. I don't know if I can block the chair and have the model sit in it at the same time, but I think I finally have more of a clue. Your comments are always welcome, Bill. Thanks a lot!
I do look at my paintings, I keep them in the living room - until company comes over when I move them out to the garage, and don't look at them any more, until there is a show, maybe. So, at the moment there are several weeks worth, shows how often we have company! It is more, what questions am I asking, as I look at them, just like you said. Reminds me of a critique formula, which goes like this: who what when no no that's not it, um what's in the painting (describe it), what is the artist trying to convey, how well did she/he succeed, how do you rate (like) it. Or something like that!
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Old 05-11-2017, 10:56 AM
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Re: Glasses

Oh Mac, I didn't see your post! Thank you.
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Old 05-13-2017, 01:19 PM
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Re: Glasses

Libbey I really like your increased contrast in tones with this one.
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Old 05-14-2017, 10:53 PM
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Use to denote nudity/mature subject matter Re: Glasses

Nice work Gribbey. I think you've got the presence of the sitter here.

If I had one constructive comment to give about the painting as a whole... it would be to ground the chair more on the floor by painting a cast shadow under it. It may seem like an odd comment.. but my eye goes right to this area because it doesn't feel just right (as opposed to the majority of the other areas, which you have observed right).
I know photos aren't great for colour, but pretty accurate for b&w value comparison. Observe how dark this area is in the photo.. it's almost as dark as the value of his pants. If you have the chance to see this again from life.. squint at this area and you will see how dark it is.. note that relative value, then open your eyes to decide what colour it should be. Then paint it. This is a good way to analyze the subtlety of colour in the dark/shadowed areas. You may have avoided painting this area dark because your brain telling you "very light floor", but believe me.. it's one of the darker areas in the scene, and will help add gravity to your painting (literally).

nice work, Mike
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Last edited by skipstah70 : 05-14-2017 at 11:02 PM.
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Old 05-15-2017, 08:30 AM
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Re: Glasses

Thank you, Mike. Good pointer. I guess I was thinking of the overall composition in placing lights and darks- a bit abstractly and local colour fools me. I'll try your suggestion on that painting in photoshop.
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Old 05-19-2017, 11:03 AM
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Re: Glasses

Very nice figure!
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Old 05-20-2017, 03:20 PM
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Re: Glasses

Nathan, I missed your comment, too. Sorry! I think that waiting and putting in the background over the dried first wash was good for a broken dark. The last few I did had solid dark areas and I realize that that application may work for the opaque lights better (not a figure forum subject? - eeek).

Thanks, Kay!
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