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As the culpable technician, I should probably 'fess up right here that I actually came to this site with the intention of stealing ideas, especially "technical" information, from painters with experience different from mine. I didn't intend to do critiques -- I'm actually not particularly comfortable scrutinizing someone else's personal creative efforts, and anyway, it takes a lot of time -- but the whole point of this part of the forum is to invite such scrutiny, not for gratification of the writer but the benefit of the artist seeking feedback.
I have only my own modest training to rely upon, most of which took place in a setting in which line and form, lighting, composition, anatomy, proportion, foreshortening, color theory, and many other underpinnings of the classical craft of putting together a realistic representational picture were not considered technicalities. In the case at hand, the artist had previously commented on his appreciation for this sort of approach, so it would have been a disservice to offer any less than my best effort. Indeed, I offered an extended review out of respect for him.
As is the case with many who visit this site, I took a workshop some time ago at Daniel Greene's studio, and believe me, if he ever offered glowing praise and nothing else for my work, I'd remember it. I'd have also felt cheated. I got back in my truck and drove the 1200 miles back to my home, thinking that I'd been a silly, aging dreamer to have even signed up. About three months later, I began a new, ambitious portrait and from the very earliest drawing stages I discovered myself using some of the technical information Mr. Greene had demonstrated. One thing led to another, and that portrait turned out to be the most accomplished work I'd done to date, or since, for that matter.
I suspect that Dave's already thinking about his next painting, and I can practically guarantee you that it will be his best ever.
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