Please critique child portrait
 

This is a 11" x 14" portrait called Ruby and was done in Genesis Paint. It is of my 4 year old active niece. I am an aspiring Portrait Painter and a Critique would be most helpful to me. Thank you.

:thumbsup: :thumbsup: I'm glad to see that you've posted your portrait of Ruby and I think that you've done a verrrry good job of it. This is really nice work and you've obviously got a LOT of talent. Could you also post a detail of her face?

Did you enjoy working in Genesis as opposed to traditional oil paint?

Thank you, Karin.

Here is a close-up of her face.

I really enjoy the consistency of Genesis; actually it is a lot of fun to work with. One great feature is the convenient drying time since it is heat set. I can dry it in 15 minutes in my oven.

This is charming. What is "Genesis" paint? What kind of suface are you painting on? Her face is delightful.

Administrator's note: there are quite a number of posts available on the Forum regarding the Genesis paint system - the index is here http://forum.portraitartist.com/sear...der=descending

Thank you, Linda.

It is on a prestretched canvas on a wood frame. This is my first attempt at using Genesis. It is a paint that never drys, even on your palette, unless you heat it. There is no waste or fumes and it cleans up with alcohol. By heating it at 275 degrees for 15 minutes, your painting is completely dry and you can contine on your work. There is a book you can get to mix Genesis colors that match oil colors you maybe using and used to.

This is charming! Genesis paints sound interesting.

My only comment is that the figure seems to be painted mostly in the middle to high value range. I would like to see some darks and shadow patterns connecting the figure to the background.

How brave you are to paint that pattern on her dress!

Thank you, Jeanine.

I will need to do work on the area that meets the dark background. I appreciate your pointing it out.

Barbara,

I agree with Jeanine. I think it needs darker values. The pupils of the eyes, the shadowed section of her neck under her hair, etc..

I hope you don't mind. I've run it through Photoshop and created some darker values. It is a darling painting of a precious little girl. Can you post a reference photo? The pattern of her dress is wonderfully rendered.

Rebecca

I apologize for not explaining myself clearly. Here's another try:

I was referring to darkening areas of shadow within the figure, e.g. the child's neck as it turns back, eyes, shadows in creases, etc. to "connect" the subject visually to the background in terms of composition.

Find a way to weave some darks into the figure, if you will, like a light center medallion within a dark blue Persian rug.

There is no clear-cut source of light on your subject, so dark modeling features would be too tricky, and I would always discourage outlining. Especially since the light and softness of your edges against the dark background create a halation effect that adds to the charm of this lovely painting.

There are other solutions here, such as making the background lighter in some areas, but you risk disturbing the strength of that vast calming expanse surrounding her.

My vote would be for a few darks on the figure.

Thank you, Rebecca!

Jeanine,

I didn't mean for the image to be quite so saturated. The background is now way too blue, but I think you can tell where I was heading. I am glad to know that we were on the same wavelength. I really admire your work.

Barbara,

I don't know if you have Photoshop or another image correcting program, but I use it a lot to "test" corrections or additions before I actually do them. It has saved me a lot of painting and repainting time.

A digital camera and Photoshop. Thank you, Lord, for modern conveniences!

Rebecca

Thank you, Jeanine and Rebecca.

The one thing my teacher has stressed is to paint "What you know, not what you see", in other words not to "paint the photograph". Sorry, I tried to edit the first photo and somehow completely deleted it, I do know computers are not my area.

I did use my Nikon for the photos and then Photoshop for the image study. I am not sure if I am explaining myself correctly.

I will look for the reference photo to post.

Barbara

I like the luminosity of Barbara's painting and adding a lot of darks (as in the altered post earlier) might ruin it.

However, introducing some "lost" edges in the shadows might do the trick here. Ruby looks as if she was "cut out and glued" onto the background.

(Barb Moquin is a former student of mine. I might be prejudiced, but I really like this painting and am proud of what she has accomplished!)

We agree, Karin.

The oversaturation of my corrected image took away some of the luminosity. But darkening the aforementioned areas will, in my humble opinion, anchor this precious child to the background and remove that "cut and paste" feeling. I've always been trained that each work should have a certain level of low values to give the image depth and more dimension. Of course I have worked in commercial art for so long that it may have different rules than the "fine" arts.

Hope I've been helpful.

Rebecca

Hello,

I have attached the reference photo of Ruby. Several people have mentioned the check in her dress. I really enjoyed doing the check in her dress, I found it fun to follow the "fabric surface" in the painting.

Barbara

Great photo! It has more information than I expected regarding dark values within the figure. If you just paint 'em as you see 'em, your final product will sing!

Thanks for posting!

Hi, Jeanine.

It has been impressed on me to not paint the photo. It is a guide I use, keep the shadows gentle so they do not become harsh.

Barbara

I agree that for the effect you are going for, avoid heaviness. However, your strong ability to control edges should provide the courage you need to make a bolder statement of form and shadow.