First Critique

Orville Villanueva · 05-20-2002, 10:04 PM

Hello, everyone. This is my first time ever posting one of my paintings on this forum and I can honestly say that it is very intimidating for me. Being a student, you can't help but feel a little afraid of jumping into a profession where there are people with more experience and skill.

The painting I'm presenting today is a project I completed for my independant studies with Professor L. Parker. It's oil on canvas 36x36. The painting was created using sketch notes I made while visiting the student union and other facilities on campus. Anatomy, proportioning was obtained from these sketch notes then systematically intergrated together into the piece you see now. The face is no one in particular since I could not find any volunteers to pose as the ballerina, (my friends said they were not thin enough) so the face was invented using traits from different people from observation. The time from start to finish for this painting is approximately 35+ hours (one week).

I'm sure some of you may ask where the legs are and I can assure you that they are present on the painting. The photo seemingly washed them out, unfortunatly.

Please feel free to give me suggestions or comments on this painting as it will help me to improve. Thank you.

Orville V.

Jeanine Jackson · 05-20-2002, 10:40 PM

Quote:

The face is no one in particular since I could not find any volunteers to pose as the ballerina, (my friends said they were not thin enough) so the face was invented using traits from different people from observation.

I think this is a very strong and beautiful figure painting.

Mike McCarty · 05-21-2002, 11:07 AM

Beautiful, very strong composition.

Orville Villanueva · 05-24-2002, 09:28 PM

Thank you, Jeanine and Mike. Should I make any changes to the painting?

Orville Villanueva · 05-24-2002, 09:54 PM

This is the second ballerina painting I'm working on in conjunction with the first I posted earlier. For this painting, I managed to find a person to pose for me which made things much easier unlike the first ballerina painting. Any suggestions or comments would be appreciated for this piece.

Karin Wells · 05-24-2002, 11:18 PM

You are a very talented painter and I really like these paintings. Considering the similar subject matter, I was surprised at how different they seem...

In your first painting, because the face is in shadow, I think that you have portrayed an archetype of a dancer. That is, she represents all those women who dance...and it is quite dramatic because of this.

Because of the clarity and sharp focus of the features in the second painting, this painting appears to be a simple portrait of a particular woman who just happens to also be a ballerina...

Here are my comments on your second painting:

Because her face is tilted slightly down, I presume that there may be a lesser intensity of light falling on the face than you show here (that is, if my monitor is correct). If indeed, you find the light to be less intense, then the features need to be softened a little.

In your first painting, you have used a dramatic shadow as an important compositional element. I feel that your second painting would benefit from this device also.

Denise Racine · 05-25-2002, 08:52 PM

From sharp contrasts to soft edges...From dark shadows to light pastels... From cool blues to warm pinks...One girl is in shadows, the other in light... Your paintings are very yin and yang.

Keep up the good work!

Orville Villanueva · 05-26-2002, 02:45 PM

Hi, Karin. I've been trying to fix that little lighting issue with the second ballerina for a few days now. I worked on the lighting of the face, bringing down the highlights on the frontal area while the cheeks and jaw bone are placed in shadow. At this point, I'm allowing the painting to dry a little more before going back in to apply a few more details.

In terms of softening the details, I haven't begun working on that portion of the painting, yet. I think your advice on softening the features will work since having them so strong and defined as they currently are isn't quite working. As far as using dramatic shadows in this piece, I don't know if I can create the same moody effect. The expression on the second ballerina doesn't want to convey that intense feeling unlike the first ballerina. At this point, I haven't decided where to take this painting, so only time will tell.

Thanks for the great advice, Karin! I appreciate it very much. I'll be sure to keep you posted when I finish the painting.

Karin Wells · 05-27-2002, 09:31 AM

I see this painting as an opportunity to lose and find some edges. Also, I think that the light is even more subdued as the face and lower arm turn away from the source.

Shadows are a great design element and can be useful to integrate the background and foreground for a more unified painting. It is OK to "play around" with the lighting a little in order to make more interesting shapes/patterns of light and shadow.

The background is usually not a place where you need a sharp focus or "harsh line." Oftentimes, a "mere indication" is enough here.

I've taken some "radical liberties" with your painting to illustrate what I'm trying to say. I hope that it does not offend you that I did this, but pictures are so much easier than words here...

Jeanine Jackson · 05-27-2002, 02:55 PM

Personally, I love the second painting even more than the first because I do not have to struggle to see the girl's face. Karin's suggestions definitely would take it to the next level. Both are lovely. I'm certain many more will choose the first as their favorite precisely because of the mystery. Denfinitely a yin/yang pair!