It's been a long time!
 

Gulp! It has taken me all day to pluck up the courage to post this message. I am in awe of the work revealed amongst these web pages. It is so inspiring I only wish this was available while I was a student. I would greatly appreciate any feedback on my work, and will over the coming months scan the Forum, absorbing the wealth of information therein.

As yet I do not earn a living from my passion. It has been ten years since I put pencil to paper. This pastel is my first since

Kirsty
 

Detail 1

Kirsty
 

Detail 2

...she is exquisite. Thank you for posting the details, each one really grabs me more than the previous. The modeling in the face is so delicate, and yet it really vibrates with life and light.

I wasn't so sure about the simplified green haze she emerges out of, but coincidentally I'm reading a great book by Gregory Maguire, "Wicked, the Life and Times of the Wicked Witch of the West" (for any readers out there, :thumbsup: :thumbsup: ) where the protagonist is, of course, green. Anyway, perhaps because of the mystical book, I don't object to the other-worldly green mist as I might otherwise.

If it has been 10 years since you've picked up a pencil, it has obviously been a 10 years filled with LOOKING and SEEING. I am in awe of this work. Please post more.

Thank you.
 

Mari,

Thanks for the feedback. Believe me when I say I have been refreshing the Forums waiting for a reply. I must admit I rushed the "green" at the bottom wanting to get on to the next project. I had intended to complete Kirsty's torso but my wife wanted to reduce it to just head and shoulders or put a vest on her. Needless to say it has now been a couple of days since I finished it and may add some blocked flesh tone back over the green on the left hand side.

I already have my reference material sorted for the next portrait. Kirsty again! I have so many more photos of her pulling faces I probably will make a study of them. Doh! Another project.

Kevin Noonan

Your work is beautiful. I can't believe it's been ten years!

Have you taken art classes?

From 17 to 21 I attended Art College. Two-year course of Technical illustration and a two-year advertising graphics course. I'm now 36, and for the last 10 years my career has been IT. Mostly working away from home, living in hotels and long, long hours. I have just joined a local art club. Literally yesterday!

Tonight I start my next project. The problem I have at the moment is I get half way through one painting and want to start the next. I need to produce as many quality paintings as possible to promote myself. I've been reading the Forum about approaching other people to pose and can't wait. But first I need to build my own confidence and complete about three more pastels of immediate family before attempting oils and asking other people to pose. I'm already drooling at the thought of approaching a charismatic stranger and producing a piece of work which does them justice. Hmmm! Drooling is probably the wrong approach but I think you know what I mean. ;)

Kevin

After setting this pastel to one side for a few days, I have to agree that the green is too much. I will rework it and repost to the pastel critique forum. Any suggestions at this point would be appreciated.

Kevin

Kevin,

Here is a simple solution which I think communicates the essence of your image.

Yeah, I don't know what kind of luck you'll have with this move, but when I do it I usually get slapped and have a drink thrown in my face.

Mike

Great solution but would mean losing some parts of the image I like, and at this point I think I can recover it. Something has been bothering me with the overall composition, which is probably why I finished it quickly. Now I have had time to look at it a little more objectively, I have come up with the solution below (only on the PC at this point). Good job - my wife had given up on me and gone to bed or she would have gotten rather worried by the head scratching, chuckling and talking to myself. Feels great to be thinking about these things again.

What do you think? I'm going to bed now and I

For those who are interested, my logic is outlined below. At this point I think it works now (it's getting late, again!). But would like some feedback.

Steven,

I'll take a hanky with me, just in case. But what happens when you tell them you'll pay them? ;) Doh! Especially when it's a great big hairy strapping bloke who just happens to look like Zeus!

I'm afraid that's a commission somebody else is going to have to pursue. I'm kind of a traditional bloke.

"Seriously, though" -- I do have a thought or two about the piece, but I wonder if the administrator or moderator might move this thread to the "Critiques" section, since Kevin is seeking feedback about the work and about how to proceed.

Your wish is my command.

Steven,

Piped me at the post! I was about to see if I could move this thread. Cynthia, many thanks.

When I posted this piece I didn't know what to expect. I posted it into the Unveilings Forum section to ease me into it.

The whole process at the moment is quite a curve. My only goal for this painting was to see if I was still able. I had completed 7-8 drawings prior to this (two of which I have just posted to the drawings Forum). My next pastel has had a little more thought in to the initial design/composition stage. I added a little bit more to the image I posted, especially a lighter area and a softening to the left/top of her head. This helped to pull the eye back up from the bottom of the painting.

I suppose at this point in time, I am trying to establish where my work sits in relation to other works and therefore pricing in relation to my local/regional market. These first steps are quite tentative and hopefully with a little more work my confidence will grow.

Looking forward to your input.

Kevin

Kevin,

Any time you want a post moved, it has to be done by me.

Having instigated the relocation of this thread, I suppose I now ought to tap in a few thoughts about this piece, perhaps somewhat randomly.

Your drawing skill is generally well developed. This 3/4 profile -- often challenging to "see" correctly -- is effectively rendered and convincing. Proportions look pretty good. (In an older model, I might have questioned the relative size of the head, but in a child I accept the proportions.) Even without a reference, I

Dear Kevin,

I have enjoyed seeing your portrait of Kirsty, as well as the thought process involved in considering the composition. It's difficult, indeed, to follow Steven's characteristically comprehensive critique, but I'll offer a couple of thoughts.

First, with regard to the composition, even though the hues in the background are varied, their values are not. As a result, the figure is rather unconnected to the background. By altering the values in part of the background, I think the subject could be better integrated with the surroundings, and anchored (as opposed to floating) within the perimeter of the frame.

Second, with regard to marketing, in this case I would probably tend to agree with your wife, and perhaps paint a little lace chemise (or something equally unobtrusive) on Kirsty's torso. She is at an age where she is clearly not a toddler, but also not old enough to be a nude. When you are building your portfolio, I think that the more universal your portraits' appeal, the more easily potential clients can envision their children in a portrait painted by you. Given the value pattern and movement you have considered, if you were to paint in such an article of clothing, it would work best as something light, airy, and in a value and hue quite similar to the skin tones.

Personally I find this to be a lovely piece, and very much look forward to seeing more of your work.

Kindest regards,

Steven,

Your observations are very greatly appreciated. Especially so since I read from your profile you are an Atelier. This is something I had not been aware of coming from a commercial illustration course at Art College, and not fine art. If you can point me to any resources regarding this it would be appreciated. (I had a look at the profiles of the regular posters). I'm very curious as to the fundamentals and the philosophy of an Atelier. I read about the LARA (London Academy of Representational Art) from this Forum and will be making enquires in the near future.

Unfortunately I didn't make the point of the schematic clear. I'll try to bear this in mind for future postings. In this I was trying to demonstrate how I felt the painting was flowing, and exaggerating perspective. Plus there are no objects in the background in relation to Kristy to correct this view. I am comfortable with perspective ,and studied Technical Illustration at college for two years. We had perspective beaten into us. If I draw the lines exact through the eyes and mouth, as you so rightly state, the drop off isn't as pronounced. Right or wrong, I wanted to show how I "felt" the painting flowed from Kirsty looking out and drawing the eye back round. Because the painting/composition was not thought out from concept I am trying to realize the painting after the event. This was to try and demonstrate what I was trying to achieve (it was late).

The original picture was taken next to a north facing patio door (coincidence). The subsequent printed image had high contrast (esp. in the hair) and I didn

Kevin,

For starters, have a look at an article written for the Art Renewal Center by my instructor, Peter Bougie:

www.ArtRenewal.org/articles/2001/Bougie_Studio/bougie1.asp

Kevin,

Congratulations on reconnecting with the right side of your brain. Your drawing skills are very good. I believe that drawing is like riding a bike. It doesn't take long to get back in the groove. Drawing is the most important skill if you want to pursue portraiture so you are ahead of the game in that respect.

Plopping a head down in the middle of a page is not the way to become a portrait artist of great renown. It's ok if you want to do quick portraits on the street. A great portrait is someone's likeness trapped in a work of art. I said that.

You must plan your pictures considering all elements and try to achieve a pleasing composition. Study Ingres, Lord Leighton, and Bouguereau as fine examples of great draftsman who also mastered the art of picture making. You have been blessed with a fine talent, but talent is not enough. You need to develop an all around game.

Steven,

If only I had a mentor while attending Art College. Because I was on an Advertising/Graphics course I was strongly discouraged from using oils or even emulating the "masters". It must have been a great inspiration for you in such an environment.

Chris,

I have decided upon adding a t-shirt to this painting and have already taken the necessary photos. It has horizontal pastel stripes similar to the colours used. I have just finished my second pastel and will be posting a new thread for comments. I hope it meets expectations.

Marvin,

Strange opening comment! Sorry, I'll rephrase that. Strange in that the book by Betty Edwards, Drawing on the Right Side of the Brain is what rekindled my interest in drawing/painting. I walked into a discount bookshop just to have a look around, the previous edition was on sale and I was intrigued.

I couldn't agree more in that drawing is the most important skill but at times I feel as though I

I'm going away for a few days so thought I

Detail.

Kevin,

I really like this much better with the shirt! Good work!

Kevin,

I think you've brought this piece way up with the addition of this shirt. Good judgement, good choice. With the addition of the strong colors into the shirt the background need not speak so strongly.

You're going to have to make some decisions as to where to stop this piece on the bottom. It looks like the hands may fall very close to the edge of the paper, which may cause some problems. May I suggest looking at something close to your cropped version as the finished piece?

Love this piece - it really speaks to me. Your color, since adding the shirt, has really brought this one together.

I agree with the suggestion of the cropped image that Mike mentioned. It is going to be interesting to see what you decide. Ultimately, of course, it's your choice, and what makes you happy. Oh well, and composition too, I guess. So far you are right on track.

Can't wait to see the finished product.

Mark

Kevin, I do love the face and believe the shirt addition really keeps your eye from getting confused. I wasn't sure where to stop before, kind of ghostly...meaning the figure was evaporating up to me.

I am sure this is not where I should ask this of you, but I would love to hear more about your transition from commercial (graphic) arts - portrait arts. I did the same thing last year and have loved every minute of it. I am new and did not notice if there is a general chat thread area. I'll take a better look.

Isn't all the above input fantastic? Who'd have thought Chris Saper and the rest of these wonderful teachers could give you input. In awe here! :sunnysmil

Big smile on my face. :) Why? Because this whole experience is incredible. I live in the UK and sadly have had no dealings within the "art world" for quite a number of years. I'm struggling to find adequate "local" resources and information. Yet across the pond in cyberspace is this jewel. When I was younger, I would have given my right arm to have the friendly advice and information given here (by the way I

Kevin,

Your work is beautiful! I too, favor this version with the shirt. The colors work very well with the background. Wish I could work with pastels, everything on this site, definitely including your work has inspired me to try. So far all I've done is make a HUGE mess!

I am positive your portrait career will take off! And perhaps your writing career as well! (I enjoyed reading your post). :sunnysmil