Portrait of Sonia

Flladi Kulla · 12-17-2008, 04:03 PM

Hi everyone,
I am posting the image of one of my latest portraits. I wouldn't consider it finished and as I am trying to be done with it, the more difficult it becomes. It's a portrait of my wonderful wife, and I would really really appreciate any comments from everyone!
It's oil on canvas, 22x28 inches.
Thank you very much for your time

Richard Monro · 12-17-2008, 05:51 PM

Filadi,

This is a wonderful piece. I like the unusual pose and the expression in her face. My only critique would be to gray the yellow in the background as I find the chroma too intense and distracting. Other than that I find this painting to be enchanting.

Alexandra Tyng · 12-17-2008, 07:08 PM

Filadi,

I also think the portrait is wonderful. Totally captivating.

About the background, I agree with Richard that greying the yellow would help push it back and also create an impression of air or space behind her. What was your shadow color? You could mix the cool shadow color with yellow-orange to grey the background just a little.

Conversely, I find the shadows in the figure too dense and dark, and I think it would help to mix some yellow-orange into the shadows and lighten the value slightly. This would relate the shadows to the background as well as decreasing their solidity.

Carol Norton · 12-17-2008, 07:26 PM

Your portrait literally BREATHES. She is beautiful. The pose and expression are wonderful. Alexandra and Richard made great technical suggestions that will make a wonderful painting even more spectacular.

Claudemir Bonfim · 12-17-2008, 08:15 PM

You're getting better and better.

In the introductions section you mentioned how you like intense colors. I agree with the suggestions you received, these guys in the forum are great, but even if you don't change anything it still looks good. It reminds me of Frans Hals, with intense colors of course.

Keep on doing this good job.

Marvin Mattelson · 12-17-2008, 09:24 PM

Great job buddy! I don't think the problem is necessarily the intensity of the background but the value to the right of her head, which I think is too light. Secondly, the background color would have more influence over the shadows via reflected light. In the future you should set up the background colors you want to have in your painting when you take your reference photos.

Flladi Kulla · 12-20-2008, 01:45 AM

These are truly valuable comments/suggestions.
I thank you you Richard, Alexandra, Carol, Claude, and my friend Marvin, very much.

I have been struggling in the past few months with this portrait, yet it's very dear to me. I have changed colors many times to see if I would be satisfied with it, but never reached to the point I wanted it.

Yes, the background's chroma seems a little intense, but since I wasn't sure about how to develop it, I ended up keeping it the way I did it the first time when I applied colors overall (the initial emotion, applied through visible heavy strokes which later as time went, got smaller and finer.) But I do agree that it has to change a little bit and I have started working on it.

The shadows on the flesh seem dark, and i agree with Alexandra that I must introduce a bit more color, and keep in mind the reflected light from the background (Marvin). The main problem with this painting: I am working off photographs, and unfortunately have remained somehow loyal to the values shown on the photos. I've tried to recreate the same environment and have Sonia pose, but I haven't been very successful with it. Meanwhile paint has been accumulating and dried over sensitive areas and I might have lost the smooth surface on the face.

I am also aware that the hands and forehead need some work, and after your comments I am sure I will and up with a much better piece.
Thank You Again!

FLLADI

Flladi Kulla · 12-20-2008, 01:49 AM

I uploaded above the images I worked from, so it could be easier to see the errors and flaws of this painting.

Thank you!

Flladi

Claudemir Bonfim · 12-20-2008, 12:16 PM

Hi there... I think you also could do some minor drawing corrections.

Try to to turn the painting and the photos upside-down and you'll see clearly what I mean.

Check the forehead, the lips, specially the lower one, her right eyebrow, the position of the chin, the distance between the year and the center or other face features, her head is more oval and the background reflects a lot more not only on the shadows, but on the whole figure. Check the values and cast shadow on her left arm. The cast shadow on the corner of her mouth is too strong, on the other hand, the cast shadows bellow her nose and on her ear are too weak. The same happens to the reflected lights, some are weak (cheek), some are too strong (ex. neck). Double check the catch lights too.

But... remember, that's a great painting already.

All the best to you.

Richard Monro · 12-20-2008, 03:20 PM

Filadi,

Just a word of caution. You have captured something magical in her expression that is even more appealing than the photos. Making minor corrections to make the painting more technically correct may ruin the magic you have created.

Sometimes the hardest thing for an artist to do is to know when to stop. STOP! Don't touch the face. Learn from the experience and move on. The only adjustment I would make is to gray the yellow in the background. This is a really interesting and appealing painting that draws the viewer into it. It really doesn't need anything else.