How about this?
 

I am confused. Hope this posts correctly.

Three Girlies
 

Lon, I'll give it to you from a different angle since Steven makes us all so lazy. You know, we just wait for him to make his posts....he covers about everything there is....then we just post something simple like "Ditto" or "Yeah, what he said."

Apart from the critiques (of which I agree with all) I think you have strong paintings. You are definitely aggressive and brave (more than I) to attempt these paintings. But remember, a photograph is a terrible thing to try and paint from if you haven't learned alot from painting from life. I speak of my experience, not yours. I still paint from life any chance I get. However, recently I have gotten more work to do from photos than ever before. An artist must make certain decisions about lighting and all the things associated with it to make a painting work from a photo.

You have the talent...you have an eye. I think you have strengths in some areas and need stregthening in others. You can't do anything but keep getting better.

Morris,
Thank you for your polite and positive post. I know this one is a stinker. Ha ha! The silence is deafening! I know you guys are looking, and thinking, "I won't comment on this turkey!" I can laugh about it. I really want the raw truth. I really love this site, as it motivates me more than anything has in many years to improve my painting. I have never been successful at oil painting, but I want to be. I think I could be a good painter. I get lucky sometimes.

I am getting some attention with these latest oils. Perhaps I will get something rolling in terms of commissions in order to increase my practice.

I will just keep looking at all your work here and learn.

When I make a painting, I'm thinking of a stage set with actors....and the props, stage design and lighting.

Stage lighting is meant to illuminate the actors on centerstage. It is also meant to set the mood of the piece by the way it is illuminated.

In a decent stage play, nothing is "random" or accidental." It is all well planned and scripted.

Turning that strong spotlight away from your background and rethinking some of your props is a good step toward allowing the audience to participate in a delightful and enchanting moment with these three charming actors.

Lon, I hope that I'm not being too obtuse here...I really do think in "theatrical" terms...

Incredibly, this is my third attempt at this note, having set a new record for myself by twice having unintentionally launched earlier drafts into cyberspace. To say I hate it when that happens would be quite inadequate. Switching over to Microsoft Word now . . .

Your mention of the

Really, the spotlight light is not on the background, but on the back side of the girls. The background is in the shadow. In a back-lit subject such as this, should I darken the fence and background more, and darken the face shadow more with stronger highlights, or does the outdoor back lit scenario just not work for me at all? Perhaps a darker shadow falling across the table forward towards the right might help show the light coming from the left over the shoulder.

No big deal, anyway. I just liked the subject, and saw a challenge in painting it. I will fool around with it a bit more, probably until it is so overworked the oil paint starts to squeek!

I have totally darkened the background again, and the faces as well, and added some purple here and there. I will post tomorrow after I get the morning sun to photogfraph it. It is improved with the darker and altogether different background.

I am going to redo the arm, as well, as you suggest. I think you are right, even though the drawring was transferred direct, it looks out of wack. Funny how that works. This has been a learnin' experience. My grandfather taught me to never give up on a painting. (Of course, he could add a magic stroke that helped a bit!) Thank you again!

Are we there yet?
 

This canvas is about 1/2" thick by now with oil paint. I shall call it, "Groupe Olay".

Thanks for the great help!

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