Paul and Mykel

[Dianne Gardner]

Both of these were about two hours worth of work each. We just took turns doing each other's portraits. The photos were a little fuzzy and I wasn't able to take either of them home and tweak them as the models bought them.

I do see many things wrong with these structurally. How do you do it? I think I am confused when it comes to measuring a live model- where to begin and how to keep the proportions correct. Its not that I don't practice because I have many paintings of models. I think that I am practicing incorrectly and its causing problems. I would very much like to have live lessons!

In any case, for what its worth...Thanks for your critiques in advance.
Dianne

[John Reidy]

Dear Dianne,

I don't see any major problems with these and I compliment and encourage you to endeavor to keep painting from life. Two hours isn't much time and I think you have a great start.

What you may not realize is that over a period of time your experience in life painting will substantially strengthen your foundation for portraiture. You will grow to understand almost subconciously how the head surface moves and reacts to light. It will become second nature.

You will also be able to understand what happens in real life as opposed to a photograph. I have seen too many portraits that are merely copies of photographs. The light values and dark values are clumped together with no thought to what values hold true in real life.

I derive great satisfaction from your paintings.

[Dianne Gardner]

Thank you so much for your encouraging words, John.

I agree with you absolutely about painting from life. I actually do character portraits from life at the Renaissance faires and such and have been for two years now. Its really a lot of fun as well as educational. I am just really hungry for some formal training as I love portraiture and would like so much to do it well and to the extent that I see the masters here paint. I suppose that will all come in due time.

It was a pleasure to hear your comments. Thank you so much for looking.

Dianne

[Alexandra Tyng]

Dianne,

These are very interesting studies! I don't see anything wrong with your modeling either. Of course, I wasn't there myself, but everything looks generally in proportion and not distorted. I also think you've caught the characters of these two individuals.

I think finding a good teacher is never a bad idea, for anyone. Progress does happen slowly, and it's good to find ways to make it happen faster.

One thing that I've found helpful personally is to send time looking at your own paintings and identify what specific things, or parts, you like about them, and what things you do not like, and figure out why it is you like/don't like these things. Then look at really good reproductions or real paintings of work you admire, and figure out what specific things about these paintings you want to learn to do.

[Mischa Milosevic]

Dianne, one of the biggest problems that artists have is the distractions. When we learn to start simple by introducing general values and hue first, we will be better off. The professional artist starts simple and gets everything in the right place before going ahead. I watched Shanks paint and he follows this simple procedure. When we start introducing this color and that color and the other color that is when we get into trouble. Us the general color in the light and shadows and adjust all until it is all perfect. While adjusting, introduce some grays at proper value, as you see it.

Drawing is never finished until all the shapes are at correct value in their proper place. If you see that the space between the eyes is to wide figure out why and how best to fix it. If you must move the eye so be it. If you must adjust the whole side of the face than do it. If you need to put it all back than put it back.

Once again do all the prep work as simple as possible do not introduce distracting colors until all is in its proper place. You mite be able to hide something with color but you are hiding it form your self for then you wont be able to find what the problem is.

Wish you to be the best and better .
mischa

[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