Background help - Page 4

Elizabeth Schott · 01-28-2003, 11:41 AM

This one is by Claude Mellan, entitled "Head of a Girl"

Tom Edgerton · 01-28-2003, 01:24 PM

Bart Lindstrom has often advised to start by making the value of the background the same as the shadow value of the face. It's just a starting point, a possible way in.

Peggy B has a really thorough discussion of background values, under Conceptualizing the Portrait: Baumgaertner Value-massing Lecture. Anyone would be advised to read it.

Good luck!

Elizabeth Schott · 01-29-2003, 12:28 PM

I wanted to post my limited progress thus far. I went very dark with the background. I ended up lightening it a tad and darkening his clothing with the background to our left.

I worked on the "lit" edge of his face to but am not sure if I took it far enough. I also worked on the nose, check, eye and lip suggestions. I have not touched his hairline or hair and ears yet.

The value is much darker than the shadow of his face, Tom. I started before you posted, but I kind of like it! It is a mixture of the "eggplant" kind of color in his clothing with Prussian blue. Hopefully Peggy can jump in here and lead us to that background thread.

An interesting thing I have noticed is, the more I am working on this canvas (which is a pre-stretched and primed Belgium linen, which I re-primed and sanded with at least 2 or 3 more coats of gesso), is really starting to feel like I am painting on a trampoline. I have never figured out how to get the stretcher tighteners to work that are attached to the canvas backs. Any ideas?

Elizabeth Schott · 01-29-2003, 12:31 PM

I think this looks a tad yellower than it really is. Chris, I need to go back and read about the color strip you put in your shots of your art.

Thanks again all for your help.

This is the close up:

Enzie Shahmiri · 01-29-2003, 01:25 PM

Beth,

I am enjoying your all the background changes you have been making. It is very interesting to see how the color of the background creates a different mood. I also commend you in hanging in there and challenging yourself.

I would recommend you soften the hair (our left)right where it turns towards the dark background to avoid the pasted on look. Compare your image with that of the little girl that has blond hair. Even though the light shows on her hair, the portion that goes towards the shadow is much softer. The beard area is great, there you nailed it.

Elizabeth Schott · 01-30-2003, 07:59 PM

This is the latest. The close up is a scan, and the full canvas is a digital shot. Again thank you everyone!

Elizabeth Schott · 01-30-2003, 08:01 PM

Full figure, once again I apologize for the glare.

Josef Sy · 01-30-2003, 08:05 PM

Elizabeth,

It is coming along really nicely. Good job. One thing that draws my eyes is the shoulder on the right. There seems to be a part missing or maybe it is just the posing?

Keep it up!

Marvin Mattelson · 01-31-2003, 12:44 AM

The way to arrive at the optimum background is to set up your subject and bring a number of sheets of different colors and values. Not to chromatic if you want the background to remain back.

Try each behind your model and see what looks best. Many artists have said "paint from nature." What they mean is work from reality, not from your head.

If it looks good to you and achieves your purpose compositionally then it's a keeper.

Trying to do this out of your head is an inefficient use of valuable painting time, if you hadn't already noticed.

Steven Sweeney · 01-31-2003, 04:48 AM

Quote:

[T]he more I am working on this canvas ... it is really starting to feel like I am painting on a trampoline. I have never figured out how to get the stretcher tighteners to work that are attached to the canvas backs. Any ideas?

Beth, I've tapped in a note about the use of stretcher keys, in the Techniques and Tips area.