Reflections

[ReNae Stueve]

I'm just starting a piece that has a mirror with my subject's reflection. Are there any "rules" or guidelines? I have started it, in cooler tones, and I'm told to make sure the lights are darker, and the darks are lighter than the subject. That's kinda all I've got.

Any examples of this done correctly, would be great. This is a nude figure piece, so I won't be posting, but as I progress, I'll post links if it's appropriate.

[Joan Breckwoldt]

Hi ReNae,

I have two things to offer, the first is that I have seen some examples of this type of portrait by SOG artists. You might look through some of the portfolios in the gallery at the bottom of this page. I know I have seen at least two examples of this while doing a search for 'girls', you could start with that.

The second thing is, good luck!

Joan

[Chris Saper]

Hi ReNae,

I am also very interested in what members have to share about painting reflections - I haven't done many, but I love reflected images. In this case, I just sort of followed my resource photograph, and made sure that that the edges, contrast and saturation in the mirror didn't compete with the subject - kind of like I would with any other background object.

As I am having some difficulty with my file sizing, here's the link to "Reflections" http://portraitartist.com/saper/reflections.htm

Nelson Shanks has a spectacular reflection image of Princess Diana's brother, Charles Spencer; I'll see if I can locate the link.

[ReNae Stueve]

Chris,

This example is lovely. I love looking at your work.

I've posted the mirror question in a few places. I've received a great deal of good advice from Virgil Elliott's group. Basically as you have said. Follow your reference. Although there are no hard rules, remember that glass has a green tint, and this should cool down your colors that values are indeed tighter, lights darker darks lighter. Much the same we have heard. Indicate the light reflecting with hints and glints in the mirror's bevel.

And reveal your light source if the set up allows, washing out a corner. Which is what my set up will allow.

The tip about all glass having a slight green tint was very helpful, I had thought I was reading that in my reference, but wasn't sure.
I had is sort of aqua, which I' think I'll leave in this under-painting.

I look forward to more input.

[Michele Rushworth]

I've received a great deal of good advice from Virgil Elliott's group.

What group is that?

[Chris Saper]

ReNae,

Thanks for sharing that information!

[Holly Snyder]

When I read this I thought of two paintings. In the first by Scott Burdick, the real and reflected image are included in the painting, and thus the reflected image is muted so as not to compete. In the second by Morgan Weistling , only the reflected image is shown, and thus it is painted much more saturated and true to life.

Holly

[ReNae Stueve]

Holly,

These are great, Weistling's piece is especially useful for my subject.

It shows just the touch I'm looking for.

Thanks.

[Mike McCarty]

Another example: Childe Hassam, o/c 34x34, 1914.