Paul and Mykel

[Dianne Gardner]

Thank you Alexandra for your kind comments.

I know exactly what I want to learn and though I have searched books and the Internet and have found what might be answers, (although it seems everyone has a different idea about the answers) I really need to see live demonstrations because I don't learn well just from reading. I'm kind of a visual person you might say.

My most frustrating problem is in handling the application of paint. I've been painting in oils ever since I was a tot, as my mother was a painter and she used to let me use her discarded tubes of paint. But I've never actually seen portrait artists apply paint and medium and blend and get that perfect lost edge or value change. When I experiment I just don't come up with the answer. My latest portrait when you look up close is lumpy and textured so bad you'd think the young lady had small pox when actually her skin is smooth and beautiful.

I have seen master's work, especially Sargeant's absolutely awe inspiring portraits, that are beautiful both close up and far away and I have studied his strokes. But I just don't know how to get the smoothness of the paint that gives the glow of flesh.

I also have a problem with the vibrancy of color that I see in yours and other master painters. My colors fade into my canvas and turn grey. Is it the cotton canvas doing that? Or the priming? I have decided to start using linen as I think that may be one answer to my problem.

I have so many questions and I feel I should be paying someone for the answers.

Thanks for taking the time to read through my musing.
I do appreciate it.
Dianne

[Dianne Gardner]

Thank you Misha, you are so right and I am very impressed with your work on your website!

I do have a tendency to get in a hurry and rush through the drawing stage. I am going to make a point of striving for accuracy first. Thank you for reminding me. Impatience is something I struggle with.

Dianne

[Alexandra Tyng]

Dianne,

One thing I've learned from looking at Sargent's work and reading about his methods is to wipe out what doesn't look right. If you've labored over some part of your painting and it isn't quite what you intended, wipe it out right away, while it's still wet, and try it again. Keep wiping out until you get the degree of sureness and economy in your strokes. This relates to what Mischa is saying about keeping things simple (light/dark) and don't make it more complicated than it absolutely needs to be. Color and value gradations, if you introduce them (only if you feel they are necessary) can be much subtler than you might think.

[Dianne Gardner]

Thank you Alexandra.

Dianne