Self-portrait for Jeff Fuchs
 

Since Jeff has graciously volunteered to be my 'peer mentor' I wanted to post the first try of an 18 x 24 self-portrait for feedback specifically on the black robes.

The robe is a dark black cotton cloth and the small 'rakusu' robe in front is a somewhat lighter/faded black garment sewn in a traditional patchwork fashion. The challenge is to adequately describe both and especially show as much of the patchwork in the rakusu as is appropriate given the lighting. The lighting, by the way, will be almost as dark as a traditional chiaroscuro, with the warmish light source coming from the upper left-hand side of the canvas.

The portait is being done completely from life (no photos used) under lighting which duplicates that in the temple, and the background is being done from sketches completed on location. The picture below is the result of a first layer which I wanted to use to just lay in a general value map of the clothing to see how is looks and whether or not I should take liberty with the light or forms to better describe the garments.

I apologize for the horrible quality of the camera and will try to borrow a better one for the next phase.

Thanks all!

Minh "No Longer Teacherless" Thong
(Student of Jeff Fuchs)

We're getting a little ahead of ourselves. The living room trim isn't half finished yet.

Is the top of the face blank? Or is that from the camera's flash? From what I can see of the face, the expression seems kind of stern. I'm not up to speed on Buddhist beliefs, but I'd expect a religiously-oriented portrait to reflect an inner peace. It's still early in this portrait, so maybe I'm judging the face too quickly.

Also, double check the line of the shoulders. I don't feel bone and muscle under them. Same for the front of the robe. Look for the contours that indicate that the fabric lays on top of a human form.

Over all, a good start.

If this critique doesn't help, I'll give you a full refund.

Oh ... if you only knew. :D

The face is just a cross-contour drawing at this point - no paint yet, and no hair yet either. When I start on the head forms there'll be lots to critique there however.

About the shoulders, I have been struggling with the need to describe what's actually happening versus constructing based on the underlying structure. I'll take another look at that tonight. What do you think would better serve the figure in this area? Specifically, are they not sloping as expected?

About the Rakusu, it is ironed rather flat and is pretty stiff and just drapes over the front. Would showing it more 'wrapped around' the figure describe it better?

Thanks for your input, Jeff. I value your opinion and I hope we can encourage other students to pitch in. I think peer review holds much promise for those of us who are students struggling without a teacher.

Thanks again!

Minh

For the shoulders, draw a mental picture of what they look like under the clothes. Better yet, take off your shirt and do a study. I'm seeing a very large radius for the outside curve. It's hard to picture shoulders being that rounded.

I highly recommend Tony Ryder's book. His system is very methodical. He eliminates all rounded lines from the initial stages of the drawing. Using straight lines, he sculpts away at the figure until an accurate drawing emerges. It's not magic. You still have to use your powers of observation. But it's easier to position simple shapes, then refine them into a more complex ones.

Go to www.tonyryder.com to see his drawing demonstrations.

I thought I'd include a few pictures of the progress on this self-portrait (my first). The painting has gone horribly wrong but I did learn alot about how planes and relationships are used to get a likeness and about mixing skintones of the correct hue and value.

Minh

In this next picture, I had worked a little more on the background - which will be darkened in value when completed - and I had worked on correcting the values in the robes and in some of the facial features.

And here the whole thing just fell apart. When going back thru the face to render the correct hue and value of the skintone I just made a horrible mess.

At this point I think I might just gesso it and start another one.

Thanks for the help (you know who you are).

Minh

If you've read Karin's post on what it takes to be a professional portrait artist, you know that you are now several hours closer than you were before. She said that you need to put in a thousand hours. If you keep setting your easel aside for years on end (as I do), you may have to double that.

I applaud your resolve. I also want to repeat my previous comment about painting. I strongly believe that all would-be artists should avoid color in general, and make a year-long commitment (an arbitrary time frame, I admit) to drawing. Master the basics, then move into color. I'm proud to say that I'm taking my own advice (which I rarely do), and I am drawing every chance I get. I think I'll ask for an easel for Christmas, and resolve not to paint at all until after that date.

Good advice. Drawing is what I've been concentrating on since December when my (drawing) teacher magically appeared. That's why it's taken three weeks to make this mess, most nights are spent on the drawing assignments. The study of line, planes, angles, and relationships are what made the original likeness as good as it was. And for me, it was pretty decent.

Oh well, back to the drawing board.

Get it? Drawing board ?

Sorry bout that.

Minh

Speaking of drawing board, I recently made a couple of them. I don't draw at a table, or easel, so I had to choose from the over-sized Masonite drawing board from college, or just use the sketch pad itself, which wasn't rigid enough.

I went out to my shop and cut a piece of scrap Masonite into a board that was two inches larger in length and width than the paper I use. This has been a great improvement in my setup. It's easy to handle, and I can make as many as I want, so I don't have to remove an unfinished drawing to start a new one. The only problem has come from the tape that I use to attach the paper. It pulls up Masonite fibers, which will eventually shorten the life of the boards. I'll probably have to put a coat of paint on them, since varnish hasn't helped.

Try it. It really helps keep your paper in new condition while drawing.

I can't draw well sitting, so I have always had to use an easel since I started last year. I picked up a small and large masonite sketchboard to mount on the easel, and I can hold the small one and draw if I'm lounging in front of the TV or outside.

I've been drawing about a year using books as a guide, but the difference between my drawing now and in October is stunning. My teacher has merely worked on the most basic stuff (line, angles, measurement, and now value) but in just two months my drawing has improved 100%.

Minh

I've tried standing up to draw, especially at life sessions, but I'm handicapped, and standing gets tiresome. No problem... if you're drawing from a photo, but a real live model looks different with even that slight change of altitude. So even if I feel like standing to draw, my better sense tells me to stay low and comfortable.

Tall architect's stool
 

Hi Jeff, I can't stand long either (wearing a back brace now most of the time). My husband got me a hand me down chair with a back thats quite tall. Then I put a very thick pillow on it and lean, kind of a half sit, half stand. If I need to sit for a while I'm still pretty close to the same angle. You may be able to find one at a used office furniture place. I'm finally fairly comfortable painting at an easel for a good chunk of time.

Jean

And Minh, hang in there, this is a process-chop wood carry water.;)

Thanks for the encouragement, Jean and Jeff.

Here's a shot after the last little bit of work I did on it. I am still trying to get the eyebrows on properly and I will then probably gesso over it. I used this piece primarily to practice what I'm learning from my drawing teacher about planes and measurement, and I've learned about all I can from it at this point. I'm afraid the skin tones are washing out with the rather cheap camera I am using, which is unfortunate because they're not too bad. Chris Saper's book is next on my list of things to buy, though.

If I can get a decent pair of eyebrows done I'm probably going to put it to rest. I have a portrait of one of my meditation teachers in the works for trying dark/ethnic skin tones and to work more on planes and especially values.

Thanks again!

Thich Minh Thong

Hi Minh,

Are you doing this self portrait looking from a mirror? I am doing a self portrait, too, and was wondering what other people are doing?

One thing I can say is, if the light is coming from the left (from the looks of it, it is coming from the left), then the left shoulder shade/value should be lighter.

The rendering is coming along! Keep it up. :thumbsup:

Thanks for the input, Josef. I've been trying to soften the edges of the robe because I blew them pretty badly from the beginning (a painting with only hard edges ... yuck!) and in doing so I didn't realize I was losing the light on the robe. I see neutral gray and a fan blender in my future. Thank you!

Yes, I'm standing in front of a mirror. The background was completed from three sketches done at the temple, then the figure/face was done in front of a mirror. I've been trying to completely get away from using photo references in order to make it a little tougher to pick out values, relationships, etc. As a relatively new student, my eyes aren't properly calibrated yet and I want to learn the proper way before I start exploring.

Thanks again for the help.

Minh

By the way, I really like the work you've posted in the Drawing Critiques forum. I only paint a few hours per week and have been concentrating on drawing the last couple months. The charcoal portrait of your girlfriend was inspiring.

Thanks, Minh. I have been drawing portraits for awhile and now I am tackling the color and value in oil. I am about where you are now I think. I am still exploring and experimenting.

I have learned so much though through this Forum. It is really great.

Hi,

I like the humour of this thread.

It seems you are already aware of the problem areas of this piece. I would like to comment that I like certain elements of the composition. The geometry of the background, and the placement of the white ring on the body.

Greetings,
Peter

I forgot to put up the last version of this thing, which has now been (retouch) varnished and put away. Great learning experience. Thanks for all the feedback.

Minh

Minh, I am sorry to see this thread come to an end, I have really enjoyed following this!

I think it's time for you to do one of Jeff now! Bring him out of hiding! :cool:

I'd love to ... have him send me a picture. :D

Thanks for the encouragement all!

Minh "Teacherless" Thong

I didn't know I was in hiding. I visit here nearly every day.

And Minh, no portraits of me, please. Some faces are best left thumbnail size :)

I have one of those. Thumbnail, grey-scale, and VERY low resolution is the order of the day. :D

Minh

See, that is what we should all do! Share our photo reference with the other artist and see what they come up with! :)