Background help

Elizabeth Schott · 01-06-2003, 07:34 PM

I could really use some input with this background. This is in progress from life sittings and detailing from photos.

This portrait is of a young man I have known for years. He was actually a political prisoner of Romania until he was 6 years old and was able to join his parents in the States.

During our sittings it has been interesting to talk to him about his past and grandparents. I have also discovered that he has a real "chip" on his shoulder in addition to being 16 years old. I tease him about us knocking that off during our sittings. Which leads me to the background.

Marius likes people to find him unusual and dark, but not gothic. I wanted to use this very dark background with the value of his hair and shirt for that reason. I am concerned too much of him may be getting lost.

Please note that this is at twelve hours and is not completed, his glasses haven

Elizabeth Schott · 01-06-2003, 07:37 PM

I forgot to mention that this oil is 20" x 16" on linen. Also, just in case Peggy sees this, I did measure out the 2" from the top for the head, and of course my first sketches had the tilt off just enough to make it closer to the top when corrected.

Detail of the head:

Elizabeth Schott · 01-06-2003, 07:39 PM

This is one of the photos taken; it shows Marius with his glasses. The light shown in the background was used for a still life set up. Marius is lit with natural light.

Enzie Shahmiri · 01-07-2003, 02:17 PM

Dear Beth,

I am noticing so much progress in your work. Good for you!

Regarding this painting, I would recommend looking at Carravagio's work, since he favored very dramatic lighting in several of his paintings. I would think by applying a similar effect to your painting you would give the young man the seriousness he is after.

Since the lighting C. used is often like stage lighting, the frontal view is drastically illuminated, whereby the back immediately goes into the dark shadows. I can't wait to see this finished.

Elizabeth Schott · 01-07-2003, 04:05 PM

Thanks Enzie, nice to see you back!

I am off to look at his work!

Elizabeth Schott · 01-09-2003, 06:03 PM

I am not sure if it is just me, but I am always amazed how different my work looks when I post it here. If mistakes are not pointed out, they somehow jump right out at me when I view it on a screen.

This is the updated progress, not only on the background, but the re-working of the figure to get the shape and proportions right.

The crop is in the digital, not the painting.

Rebecca Willoughby · 01-10-2003, 01:40 AM

Beth,

I really like the way you're are pushing the contrast! As for the Carravaggio lighting that Enzie was talking about, I think you should push that a little more, especially on the face.

Although this will not be one of those "pretty pictures" that we see consistently in portraiture, it will be a dramatic piece of art that will show your diversity as a portrait artist. It is a good example of a soulful young man who has seen a lot of life. It seems lately that I am in a rut of little girls with Strasburg dresses or little boys with khakis and a white shirt! I would love to sink my artistic teeth into a portrait like this! And to be able to do a good portion of it from life! WOW, what fun!

Rebecca

Sharon Knettell · 01-13-2003, 12:40 PM

Elizabeth,

That is one of the best and most powerful heads you have done so far.

Unfortunately you have weakened its values too much. The values on the right hand side are way too light, you have lost the mystery and form. The color of the background on the right is much too light and lavender.

I really love the first version better. This a great subject for you, both as a learning experience and a challenge.

One observation I would like to make is on the pose. It is far too complicated, It takes away from the intense drama of the face. Keep it simple. Think like an Egyptian! Poses that complex or awkward do not read well in painting.

My suggestion is to do this painting over, emphasizing the great expression and look you got in the first one, with a more aggressive standing pose, full length or below the knees.This painting has taken you to another level.

Sincerely,

Elizabeth Schott · 01-13-2003, 01:08 PM

Thanks everyone for you input.

This young man would be a great standing figure, but Sharon, can you help me with two things?

1. In a thread under "modeling stands" I addressed the problems I have working on stand up figures; I am concerned I am making it out to be a bigger problem for me than it is.

2. What size canvas do you use when doing oils? I know you do life-size with pastel on panel, but to do a full figure in oil, what is a good size for someone at my level? I find it difficult to work really small, especially on faces.

Sharon Knettell · 01-13-2003, 03:00 PM

Elizabeth,

All you need for a modeling stand is 4 to 5 cement blocks, half a sheet of 5/8" plywood and a strong back. I use a one on each corner and sometimes one in the center. I use the lengthwise side. I paint the plywood to go with my scheme.

For your subject, follow the eight head formula in the proportion thread. I like to use half a head or a full head measurement from the top, depending on the composition. I generally use an 8" head. 8" should work for you also. So if you were doing a 5 head figure (mid-thigh) that would be 40" + 4" = 44", mid-calf, 7 1/2 heads, 60" + 4" =64" , full length 8 heads, 64". Here it is a little trickier. 8' heads would be to the weight bearing heel. The foot in front may come forward a bit. You may need an addional 3-4" for that plus 2-3" on the bottom depending on the composition, 4-8' on tne top. so, if my math is correct, the standing figure would be appx. 74 to 80+ inches. Widths scaled proportionately of course.

I think you could get good results with this painting with a 5 head figure.

Check out Sargent for his placement of heads in a picture vis-a vis 3/4, full length etc.

Keep to your theme of dark blue and black. A warm skintone will be your brightest color.

Post some new photos.

Sincerely,