Back when they were cute
 

I know this is the dreaded 3 person, not the best reference, you should say no photo. But it comes down to the fact I need the money, and it isn

This is crop one:

If I use crop one I will have to put the little girl in slacks or do something tricky.

This is crop two:

KISS
 

I go with crop #2. Sometimes it is better to go with what you have and not start changing elements. Once you have the ability to replicate what's in front of you then you can screw around with it. Don't feel pressure to create a "great" work of art. Make your client happy and do the best you can do.

I would probably simplify the girl's arm on the right side of the picture and get rid of the yellow. You can also eliminate the patterns if you choose. I wouldn't change values, however.

Remember the best route is KISS. Keep it simple stupid (no I'm not calling anyone stupid!)

KISS IS MY MANTRA
 

I believe it was Richard Whitney who wrote in International Artist Magazine or American Artist magazine recently, "KISS" and it is one of my mantras as I attempt to paint anything because I have a terrible tendency to KIC....that would be Keep It Complicated.


I always add the stupid at the end, btw.

This is a tough one, Beth. You have (photographically) a linear composition of three similarly blonde-haired (hued), light-flesh-valued, utterly featureless faces (without descriptive line, light-driven value or coloration), almost straight across the middle of the canvas (or paper), with a non-contrasting background -- all of which will be your starting point for a "portrait". The kids are dressed in colorful, variegated clothing patterns -- which might make a nice fashion spread for a Penneys ad, but it won't reveal anything about these kids. And you'll have to completely invent a background as well.

I realize that you were given this reference and are trying to make the most of it. Not many could, but some would be willing to have a go. This is one I'd say to, "I'd love to, I'm sorry, I can't. Both of us will be disappointed."

Unless, of course, you're doing it for free, or a couple hundred bucks. (Though I think there will still be disappointment.)

This will be my only input, since we're only looking at the resource. But what happens with it later will, I suspect, be heavily influenced by this reference photo.

Please build this critique into the body of other comments from many members on previous postings about the challenges of difficult references that you've struggled with.

Thanks Steven, see not only do I tend to pick the rotten ones they are brought to me on a silver platter.

The lady this is for is someone I have known for awhile. When I first started doing portraits she asked for this and remembered my rates at that time, I figured what the heck it is the holidays and I do need the money. So I know this will not be a portfolio piece but will try to make it wonderful for "grandma".

As Marvin stated, I am trying to keep the values the same. Which translates into what I have tried to illustrate here. Instead of going to my office and using my "real" software, I used the kids drawing program to just give an example of values given. The girl

This is a snapshot - not good Photographic Reference material
 

Since this is posted under "Photo Resource Critique" I cannot help but comment that this is the kind of reference material that cannot/should not EVER be used as the basis of a painting.

First and foremost the light is terrible. I cannot find anything "right" about this photo.

If you wish to improve your skills, you must make a serious effort to get some suitable reference material. There is a LOT more to painting than simply picking up a brush.

Karin, I can really sense your frustration with me concerning my reference material. I just want you to understand that I too am frustrated when a person brings me something like the photo above. When she wanted them at a younger age, I asked if she had more photos and her reply was this is the one my mom wants. Then I asked her to bring me more for additional reference. The price she is paying is lower than I would normally charge. But the real sad thing is this money is much needed since the holidays are coming up, so I can

Beth, this reminded me of a poignant short story read so long ago that I can only paraphrase it, but somersaults [cartwheels, actually] were used as metaphor to describe the difficult times a young girl had endured. "The secret to doing cartwheels," she said, "Is to get your feet back under you before you fall on your [butt]".

We're just the "spotters" here, trying to help you get that rhythm, so that you'll be able to land on your feet. You're working hard, and if you continue to do so, you'll get there. If you want to do this painting, for any of the reasons you've given, then by all means do so and give it all you've got. Just having been made aware of some of the inherent challenges will at least allow you to make better-informed choices about how to proceed.

[quote]Thank you for showing interest, I know it is hard for the "seasoned pro

How to avoid this
 

Beth, one of the best ways to avoid this situation is never, ever, to look at the photos in the first place. When someone asks me even to look at one, I refuse to do so. I just tell them, politely, that I can never do a good job from anyone else's photography. I must take my own. That generally ends the temptation to grab the money and run right there.

As for the dreaded Holiday, do drawings for people. My niece is a fledgling artist and I have some water colors from her that I cherish more than anything. Don't feel you have to sacrifice your art supply money to buy expensive presents for other people.

Some of us have been in that situation before and have a few clunkers hanging on walls. The last picture I did, from someone else's photo, was a posthumous one. I can't tell you how dreadful that painting is. Fortunately, I signed it with an illegible cartouche and continue to deny its authorship. I don't even accept posthumous portraits any more.

As I am now concentrating on my own personal work, funds are a lot tighter than when I had a nice juicy fee coming in. All the states have some kind of artists' grants. Look into your state for some small grants to help you with your supplies.

Sincerely,

This might not be the smartest thing to do, but since it is the holidays and this photo stirred so much emotion, I decided to post the finished piece.

We knew this would not be a masterpiece from the start, but the client seemed to like it, and as all predicted it was a royal pain to do.

Note: the color looks really saturated in this post, I am not sure why. It is not really this intense.

Beth, a good job with poor material. At some point I might be able to be more particular about the reference material I work from but right now I'd rather be painting than not, especially if there's a guaranteed fee attached. People who post here have a whole range of professional experience and stature so I understand the dilemma you were facing. Had it been I, I would definitely have insisted on some other photos taken during the same period so that I wouldn't be limited to that reference photo. My explanation, when clients for posthumous portraits insist that this is the exact photo they want me to use, is that I need to get a feeling for the subject's personality, and the completed painting should be and will be much more than just a copy of a photo.

I can imagine the reactions I would have gotten here if I'd posted all the reference photos I had to cobble together for my last portrait. Clearly my practice differs from that of many others on this forum. The painting was to be a surprise for the subjects and I simply viewed it as a challenge. I enjoyed making a single cohesive piece from the sources and really like the finished painting. The client, who already had several commissioned portraits hanging in her home, was thrilled with the results and I'm hoping that the recipients will be also.

Leslie, thank you. Your words are kind, and what I needed. ;)