Early progress for critique

[ReNae Stueve]

Leslie,

Yes, I see what you mean. Funny, once I've posted an image, I can see it afresh. I've also taken some advice here and started keeping a mirror that I can use to look at the image over my shoulder. What a useful tool.

I've darkend the shadow in his left (our right) cheek, cooled off the lights a bit, as Tom suggested, although all of the color needs a bit of work, I think I'm getting there. I've attempted to remold his right cheek and eye socket. Looks to me like I've still got a problem, as his forehead is not modeled right. I've got to work on those values a bit to bring the shape in line.

Before I go any further on his suit, any comments on the carnation arragement? In or Out? I'm pretty sure I can pull it off, but do you think I need it? Seems like it would give me a nice circular movement. Maybe I'll tape one on for a dry run.

[Leslie Ficcaglia]

ReNae, that really makes a difference. The skin tones look better, too. A few more details: I think you've still got his chin a bit too long and sharp and I also think his upper lip should be slightly higher on our right. And the bulb of his nose should be slightly larger and extend to our left. You might be happier with the line of his forehead if you extended the hair a tad to the left, too, and moved the hairline down a very little bit. Again, these are all very subtle; it's basically a great likeness.

What helps me most when struggling with the refining of a likeness is to cover up the area that I think is giving me a problem and seeing whether that makes a difference. Sometimes it turns out that it's not that area that's off after all.

I'll leave the carnation question for others. Personally I wouldn't include them, though.

Nice work, ReNae.

[Tom Edgerton]

ReNae,

I'd probably leave 'em out, especially with this close of a crop. I personally favor portraits that are more "everyday" and timeless, rather than Christmas, birthdays, etc., where the details of the occasion steal from the simplicity and power of the face. It's a subtle characterization here, let it have its due.

Lots of small improvements have made a big difference. Nice job!

[ReNae Stueve]

Leslie and Tom,

Thank you so much for the help thus far. I'll be making the changes you suggested, Leslie. As always, your observations look to be right on.

Also, no carnation. I think I'll really bring out the sheen and detail in his tie, and that will give me the flow I'm looking for.

I won't have a change to update for several days. In the meantime, take care and thanks again.

[ReNae Stueve]

Well. I think I'm finished. But not before I hear from you this forum. I've changed the suit to gray. I like thw "Wall Presence"" better. The photo is a little dark. I've got a new halogen spot the hang over my easel. It helps a great deal when working at night.

Anyway enough of my nervous chatter. Here goes.

[Leslie Ficcaglia]

That looks really good, ReNae. Thanks for letting us see how you finished it.
Leslie

[ReNae Stueve]

Patience is not my virtue. I have now taken a better shot in the daylight. I hope you can see this one. I'm thinking that the color of the tie takes awy from his eyes? Any comments?

[Tom Edgerton]

Nice job, ReNae.


Simple, dignified. I like where you ended up.

[Linda Brandon]

Dear ReNae,
I've been following your progress avidly because I've recently lost someone who went his whole life without a really good, usable, paintable photo reference. (This is partially because he refused to be photographed.) I've painted many posthumous portraits. It's amazing how many people leave this world without leaving us good resource photos. You had a difficult task in making this painting come alive and you performed it very well. I admire your work, your tenacity in this piece, and your clear love of your Mother.
Best regards, Linda

[ReNae Stueve]

Dear Leslie, Tom and Linda,

I can't thank you enough for your kind words and encouragement with this piece.

You've all known, without my having to spell it out, just how much it means to me. Thank you again.

Linda, your right, all too often, we shy from the camera, not realizing how much those photos will mean to loved ones. The poor photo was just a reference for a face that I knew, inside and out.

I'm feeling a little emotional, so please forgive me, for sayng I pulled this painting out of a deeply passionate place. I can't really explain it, but I think it has changed the way I will look at future projects. I am both worn out and high at the same time.

It won't be just painting "stuff" any more.