Jackson

Sandra Jackson · 03-31-2008, 09:31 PM

I did some more work on the eyes and chin. The irises seemed off to me.

Alexandra Tyng · 04-03-2008, 09:48 PM

Sandra,

I do see an improvement in the light. The only thing that jumps out at me now is the dent in his nose. It didn't seem to be there before, and I would tend to go back to the way you had it originally because now it looks like something is amiss with his nose. As for the shirt, it looks more three-dimensional with the shadow at the front. If his mother loves it, I would leave it as is (except for the nose) and call it finished.

Sandra Jackson · 04-03-2008, 10:44 PM

Thanks, Alexandra.

I'm glad you said that. I gave him a little nose job and have worked on the shirt some more.

Mara Schasteen · 04-11-2008, 01:06 AM

Sandra, I think you've done a good job with the limits placed in front of you regarding your reference photos. Also, you have worked well with the superior feedback that Chris and Alexandra have provided. Something else I notice about this piece is a thought you may like to have in the back of your mind as you begin your next portrait. This jumps out at me because I tend to have the same issue: it's too perfect. Your brushwork is so smooth, there is nothing for the eye to "grab" onto. In the painting, the boy's hair is so evenly cut and combed, each and every piece falls perfectly on his forehead and lays in place (just as I am sure his momma would want it to). But in the photo, there is a bit more "attitude" in this little guy. His hair is down over his eyebrows, not 1/4 inch above, as you have indicated. Also, it isn't cut absolutely perfectly straight across, as in your painting. The shirt you have so neatly rendered loses the look of truly being worn by the boy without a wrinkle or any deep shadows or bold highlights.

I have found that when I try to convince a viewer of the authenticity of my work, the more "perfect" I try to render the image, the less convincing it becomes. I see great talent in your work. I would be interested to see you step back, take 30 minutes and paint this portrait again, on a smaller scale, using the biggest brush possible to help you just let go. I have done this exercise with most of my latest paintings and have ALWAYS adored the study more than the final piece. It has also taught me a lot about myself as an artist.

From his mommy's point of view, I am positive she will cherish this portrait forever. You have really blessed her with a treasure. Have a great week.

Mara

Mary Cupp · 04-28-2008, 05:34 PM

I'd like to add something to the last comment. In my view part of the "too perfect" look comes from a too uniform treatment of edges. This jumps out at me because it is an issue that I am working on myself in trying to learn.

Try finding some edges that are soft and blend into the background and some that are more crisp and defined. For examples, look at some great master paintings where this is skillfully done. Here is one example that comes to mind by Sargent. (http://www.mfa.org/collections/searc...0&coll_start=1) Look especially at the little girl seated on the rug in the foreground. Notice how parts of the figure merges with the background and how others cut a distinct edge.

I also felt that the golden brown that you used was too unrelenting. It is a beautiful color, but needed a bit of relief. Again looking at the Sargent, he also uses a lot of brown ochre in the background of this painting but balances it with cool greys and subdued rust colors so that the whole spectrum of color is represented but in a subdued and quiet way. You have begun to do this when you added a bit of color to the boys mouth which I think greatly improved the color balance. With a little more tweaking in these directions I think your painting could be quite stunning.