Composition

[Mike Dodson]

I tried several poses with the hand but this seemed more relaxed to me and less "posed" as did the others. I really wanted the watch in there just to add a little more interest. I'll try some diffrent positioning with the tie to see what happens. Still thinking about a darker one.

Thanks.

[Tom Edgerton]

I don't know, guys, I think it pretty much swings now, if the clothing is the right pitch of informality vs. formality.

If the young man is tall and lanky, this gives me that feeling, as there isn't a lot of space above his head. It feels like he is using up all the vertical space, as tall folks do. If he's a more average stature, then I think you could open it up.

Having him somewhat close to the left edge sets up a tension between the organic curves of the body and the straight edge, balanced by the push of the arm toward the right side and down into the chair.

The colors and values in the tie blend with the background nicely now, unless he's more informal than this. Watch that a darker value tie doesn't bisect him down the middle.

I kind of like the edge-on view of the chair--it flows from the arm because it's a similar width. Look at the similar effect in this Sargent. The edge-on view of the fan is this painting's master stroke.

I don't mean to be a contrarian, but food for thought. You could apply Mike's Golden Mean diagram and see where everything falls as a sanity check.

[Laurel Alanna McBrine]

When I saw this photograph I thought it would make a great painting reference - I love the casual, relaxed, modern feel and the muted colors. The pose is unusual and interesting and there is some underlying tension, since it appears a little off kilter on first glance, yet the arm on the chair counterbalances the figure leaning away.

Personally, I wouldn't paint a dark tie because the resulting contrast would draw the viewer's eye away from the face. Right now, you have great value massing with the tie and shirt. I would also be careful about defining the pattern on the tie too much, for the same reason - it would draw attention away from the focal point of your painting.

I will look forward to seeing what you decide to do with this portrait!

[Mike Dodson]

Tom & Laurel,

Thank you both for your thoughts. I posted this because I knew I would get a variety of recommendations here. Much to consider and
very educational.

He is tall, a little above 6'3" to be exact. I think I would like to open the space up a bit (not too much) just to give him a little more room but maintain the height effect. Great point Tom. I think I will go ahead and proceed to a 1/2 size oil study and include the tie to see how it looks. I can work out the details, or lack of as you suggest Laurel, in the study.
Thanks for posting the Sargeant painting Tom. Nice to have a proven piece as a reference point.

I wanted this portrait to be different from the norm. His position to the left. The somewhat casual feel with a tie instead of a suite. The chair acting as a prop for his pose but not alot of busyness around him. Everything here so far matches his personality perfectly. Relaxed, sleeves rolled up, tie loosened etc.

Thanks again for your time. I will post the oil study(ies) when completed for comments also.

[Chris Saper]

Add some breathing room and go with what you have!!

[Mike Dodson]

Thanks Chris. My plan is to begin this week-end.