My source for practice
 

Hello! I hope I do this right since I am new here. This is a recent portrait of my daughter I did for practice since I am trying a new board. I am also trying to learn more about lighting. You can see I am a tighter painter than some, pretty detail oriented I guess. I appreciate you looking at it.
Oil on Ampersand's Gessobord TM
18 X 24

Another great job Lisa, you handle oils as beautifully as you handle pastels. I'd like to see your work in oils when your not "practicing".

Lisa,
What a nice way to practice.
I personally like the

Jimmie, thank you very much. I must admit I am more comfortable with pastels so I am pushing myself to "brush up" (pun intended) on my oils. I've been more excited about that since I discovered the gessoed board. Seems whether it's a commission or personal painting, it's all practice to me. I suppose my clients are lab mice. Don't know if I will ever "arrive." We'll see if we all live long enough.

Thank you, Garth (Jerome). One of these days I am going to loosen up a little and see what kind of train wreck I can create.

I really appreciate your responses as I sincerely admire the work both of you do.

Very nice!!

I think that's a great attitude for everyone, no matter what their endeavor. We always learn and grow.

Lisa, very nice indeed. Your style does not get in the way of executing a beautiful painting.

We are all learning (especially me) and you have contributed to my education with this posting.

Pure poetry, Lisa, I love it!

I love the way the arms pick up the undulations of the grassy hills, and the vertical dress pleats work with the bannisters.

Beautiful, delightful, and very well drafted!

Garth

Michele, thanks for looking. Yes, it's important to always strive to learn but I think I lost some of that over the years as it relates to my work. Back and running, I hope someday to paint a portrait that makes people pass out.

John, thank you for the kind words. I do feel like sometimes the tightness of detail tends to overwhelm the subject. I am learning too. I hope I can strike a balance between detail and the implication of it. By the way, that painting of your dad was beautiful and nostalgic and I think he was very handsome.

Garth, thank you! I should frame your response to daily remind me of what I want to acheive. I want to be you. Okay, maybe not you in every sense but still, very much like you. You have struck what I mentioned above. You have the perfect balance of detail with the implication of it. Your paintings have inspired me. Thank you for noticing the small elements that help (though they might not be enough) to tie the thing together. Now I have to figure out how to really punch it up and make jaws drop.

Thanks to you all for taking the time to comment.

My Jaw Has Dropped
 

Dear Lisa,

I thought this was already punched up. Anyway my jaw has already dropped! Good work.

Garth

Good gravy, you've been practicing a bunch!

This isn't the easiest lighting setup, yet you have handled it with great skill. A lovely portrayal of a lovely little girl; surely something to treasure.

Ampersand gessoboard, huh? Did you hit it up with additional coats of gesso? The reason I ask is that not a few of my students have brought it to class, and during the underpainting stage (Gamsol & raw umber block-in), the board sucked up the Gamsol like a thirsty dog. Wiping out highlights proved impossible; the pigment had become imbedded into the porous surface. Any problems of this sort?