Watts III

Tom Edgerton · 12-08-2003, 04:01 PM

This was inadvertently reversed in the PSOA magazine, so here it is as painted. It's 35"x25".

The harlequin pattern behind was a challenge with the gradation of light, but I'm fairly pleased with it overall. (The client's happy too.)

Best--TE

Chris Saper · 12-08-2003, 04:24 PM

What a beautiful portrait, Tom.

You have conveyed a comfortable, friendly persona, in a wonderfully understated but complex setting. Your color harmony is restrained and successful.

Could you talk about how you paint the "dark suit?" It is the subject of much inquiry!

Thanks for posting,

Jean Kelly · 12-08-2003, 06:54 PM

Hi Tom,

I like this a lot, how big is it and can you post any details. I love to see his face and hand up close.

Jean

Lynn T. McCallum · 12-08-2003, 09:26 PM

I gather you'll be getting a Red Ryder BB Gun with the compass and the thing that which tells the time on the stock, for the Holidays. You sure do deserve one this year for the wonderful painting above. What a great job!!!!

Mike McCarty · 12-08-2003, 09:37 PM

Masterfully done as usual Tom. Simple, (to the eye, not the execution) effective composition.

Henry Wienhold · 12-08-2003, 10:16 PM

The subject looks so relaxed and at ease, this is an outstanding portrait, everything fits so well, excellent work Tom!

Linda Nelson · 12-09-2003, 12:40 AM

Beautiful Traditional yet Fresh Portrait

It's so nice to see a portrait of a businessman that reveals a personal side at the same time.

Congratulations, Tom

Like Chris - I'd loved to hear how you execute the navy suit (especially since I'm about to paint my first corporate portrait...)

Linda
:-)

Tom Edgerton · 12-09-2003, 08:45 AM

Thanks, everyone. My wife likes this also, and she's seen them all.

In regard to the suit (actually a blazer...the slacks are a little grayer and contrastier in the painting)--I try to paint dark clothes in one pass if I can, to minimize color correcting later. If I have to work another layer onto it when it dries, I paint on a THIN layer of medium and work into that, to match color. I remember that the value range has to be very narrow: I'll usually put down a good working layer, maybe a value 8 to 8 1/2, which gives me a little room to go darker for the accents and slightly lighter for the highlights. Keep all the values tightly reigned in and don't overmodel with too many. And keep to the warm/cool or cool/warm light scheme--even though this coat is blue, it rolls slightly grayer as it rolls toward warmer light, and stays good and cool in the shadows.

If I'm working from photo reference, I have the lab make a full-density bracket of prints from dark to light, so I can see the detail in the drapery. You can't paint what you can't see.

Hope this helps, and thanks again--TE

(Oh, yeah--I've found I can feel the body under the clothes better if I paint most of the drapery with my fingers. I like my thumb.)

Carl Toboika · 12-09-2003, 09:41 PM

Very nice portrait Tom! Good job on the pattern gradation.

Linda Brandon · 12-10-2003, 04:40 PM

This is another wonderful painting, Tom! I especially like all the geometric patterns woven into this composition. I detect some Artistic Glee going on here.

I also like the subject's facial expression. Tom, to me, this is one of your greatest strengths as an artist - your people always seem to be the sort I'd like to get to know.