A study of Cole

[Dan Landrie]

At first glance I thought he was putting on a tie, but then recognized the indication of the drum and was able to discern that he was holding drum sticks. This is probably not a valid criticism and I wouldn't put to much stock in it. It was just a passing thought I had while viewing the sketch and something you might want to keep in mind while doing the painting.

The sketch is absolutely amazing and I'm envious of how quickly and cleanly you executed this pastel drawing. I hope your able to glean a few commissions for your effort.

[Sharon Knettell]

Beautiful Garth.

Did you know that Degas was always adding pieces to his pastels. He has a special person who would add them flawlessly.

The skin is lovely, clear and fresh. I am amazed you did it in the time frame.

[Garth Herrick]

Dear Dan and Sharon,

Thank you both so much. It means a lot to me to have responses from great experience. While this did generate from just a spark of an idea in six or so hours, there is nothing that seems out of the ordinary to me about that. It was meant to be quick and loose, and not too specific. Given that, there quickly comes the point (for me) in laying down the colors that everything is just about where it is going to end up in blending and resolution, and there is no point in going further. While I typically could delve another six months into cleaning it up, I am not sure it would really improve on the spontaneity I wished to preserve, just for once.

So I remain in awe of your collective masterfully rendered pastels, and am honored to hear you think I did well working within the scope of one extended evening.

Garth

[Marcus Lim]

Hi Garth,
You've perfectly captured the essence of the boy's shy, quiet character. Skin tones and all, especially the soft shadows falling on his face. What i feel lacking is that "fleeting moment" quality that will bring up that time-lessness enigma that he has with him too.

I imagined the surroundings blurred as if in the super-fast vibrant shake, but yet not in an energetic way. Kinda like the image we see in our eyes over an object, as we switch focus as we turn our heads.
I wonder if i gave this image to you out right.

[Garth Herrick]

Hi Marcus,

If I am hearing you right, I like the notion of giving a slight motion blur to the props, surroundings and background elements. In reality, there was a stately oak paneled wall behind Cole. I would downplay and blur it a little, anyway.

Thanks for your insight.

Garth

[Marcus Lim]

Hi Garth, you got that right.
I was actually proposing downplaying more than you usually do - and in fact, at one particular area of the painting, have a daring bold blur to give it that edginess contrast to the boy's soft demeanour.

This bold blur should be obvious but yet doesn't steal the fire away from the boy's expression. That's what i can add to your current new idea you have.

[Garth Herrick]

Originally Posted by Marcus Lim

Hi Garth, you got that right.
I was actually proposing downplaying more than you usually do - and in fact, at one particular area of the painting, have a daring bold blur to give it that edginess contrast to the boy's soft demeanour.

This bold blur should be obvious but yet doesn't steal the fire away from the boy's expression. That's what i can add to your current new idea you have.

Thanks Marcus; great idea!

I have not actually reworked this drawing, but I played with a virtual selective blur in Photoshop: Motion Blur, horizontal, 88 pixels, and then applied the memory brush to restore the sharpness selectively. It looks interesting to me. Is this kind of what you meant?

Garth