My latest self portrait.

[Debra Jones]

I brought it in to class today to show Chris Saper. I have had a dilly of a time getting the color balanced and when it posts I am sure it will show differently again, but here goes.

This is a crop (approx. 16" x 20" but it is not framed or stretched yet, so it may end up square) of my 20" x 20" oil on canvas. I underpainted the whole surface with French ultramarine blue and wiped lights back. It is a new instant grisaille that has been working for me like gangbusters.

I would be happy to hear your responses. I really feel I have found a technique I can live with and exploit. Maybe not exactly traditional, but definitely MINE.

Thanks in advance.

[Leslie Ficcaglia]

dj*, I don't know how this looks on your monitor or in real time, but it looks great on mine. I love what the blue does to the tone of the painting and the way you let it show through in places. Your brushstrokes are distinct and authoritative and the painting works beautifully. And what did you mean by "wiped lights back"? I use an ultramarine blue underpainting, but it's not really a tonal study but more of a blocking in, so I'm interested in any new ways of dealing with this.

Looking forward to more of these!

Leslie

[Debra Jones]

The demo is at wetcanvas.
I started it all with a piece of my brother last week with a green underpainting.
I rubbed a wash of thinned color OFF with turps on a rag and scrubbed dark in making a down and dirty value sketch, then matched values as I went ala:

[Leslie Ficcaglia]

Thanks, dj*! I get the picture now... The portrait of your brother is good but I really love your self-portrait. It's got so much energy!

[Kimberly Dow]

I love both of these.

You're grooving on your own style and I like it!

[Peter Jochems]

Personally I think the blue colors are taking away too much of the qualities of the composition. I would have liked to see this piece in true colours instead of a blue painting with only the skin-tones in 'real colours'. The tonal structure of this piece could have been more interesting if the colour of your clothing hadn't been too much absorbed in the overall blueish colourscheme.

After seeing this one and more of your work, this is my impression; The handling of the paint is often very powerfull, but also very crude and messy at places. The transitions between dark and lighter areas suffer from the crudeness of the handling of the paint. I would prefer a more diverse approach. Subtle modelling at places and a bold and powerful approach at other places. That way it would gain a certain dynamic. Often it's the same energy everywhere which creates a very restless impression.

Also, I think your work would benefit from reworking certain areas more. Your paintings (the top-layer) often seem to have been painted 'in one go'. I would like to see what would happen if you would very carefully construct a composition and model it very elaborately on the canvas. Or just take things more slowly.

[Michele Rushworth]

I really like the expression in this one, Debra. Most artists' self portraits have that intense stare we all seem to wear when concentrating hard on a painting, but this is very refreshing.

As for the "wipe off" technique, it sounds similar to what Marvin teaches, except that he uses an earth tone underpainting. He tones the canvas and then wipes out the light areas while it is still wet.

[Debra Jones]

Thanks for the comments.

I only just this month did what I would call a fully traditional piece from the Chris Saper workshop. I did a couple of dark backgrounds with well worked and cleanly modulated skin. I felt satisfied but got a rash of input from my peers about the LACK of my personal style.

I work alla prima. Habit from 80% open studio over the last 5 years. I can whip a nice loose 20x16 in three hours. Sort of like jogging. I do likeness well. BUT I have not had to please a model in many moons. The latest excercises have forced me to work and re-work.

I am not comfortable with the traditional glazing and layering of paint. I am a bad planner and it does not suit my temperment. I think this rash of experiments is a rebound from the tightness I have been exploring. I still like working alla prima, but this underpainting has really freed me from tackling everything at once.

Building the likeness in gray tones, the way I LIKE to do it, much like a charcoal drawing, is easy and exciting. Overpainting is manic. I have not slept much because I am so able to paint more as I was taught only making color choices, not value decisions, and fighting the likeness etc.

The defense of the colored surface is a marketing idea. I want to see if the style works, I may market through designers so I will be able to guarantee I will match the sofa BEFORE I take on the commission!


Here is the piece from Chris's class.
http://forum.portraitartist.com/atta...=&postid=29794

[Leslie Ficcaglia]

That piece from Chris's class doesn't look like your work, dj*. I like your style and miss it in such a formal approach. Peter, different strokes for different folks - I love her self-portrait. Maybe you'd be happier calling it a figurative work, since it's obviously not a standard salon-type painting, but I find it fresh, appealing and exciting. One of the neat things about this forum is the range of treatments - so many wonderful painters, each with his or her own trademark style.

[Peter Jochems]

Leslie

I agree with you completely, but since this is the critique-section, I try to give comments from my point of view.