Chris, Nick, and Gypsy
 

This is my latest, of a father, son, and their German shepherd. This is a work in progress again, only blocked in at this point. The father has a green eye and a brown eye so this should an interesting face to do.

I'm trying a simple background this time and using the "halo effect". Gypsy's back is quite dark and I'll be adding that later as I build up the paint layers. I was hoping that her back would lead the eye into the painting and keep it there. Are there any suggestions at this point on the background and my attempt to trap the eye?

I believe I may have to add Chris's hand and arm to Gypsy's right side, with his hand ruffling her fur. He doesn't seem to have much interaction with the other two figures. This was the best look I got from him. My challenge is to make him look more like Jesus and not Charles Manson!

Jean

Forgot something
 

The painting is 24 x 30 inches, oil on canvas.

Jean

Jean, I'm glad you took the route of using a simpler background this time. The focus can now be on the figures. It will make your life easier too!

I wouldn't add the hand and arm unless you have great reference photos. (Too hard to "invent" or make it fit.)

I would play down the light "X" shape from the strings of the Dad's jacket. It's so central and graphic a shape that it will attract too much attention otherwise.

Be sure to focus on getting a full range of values in the figures so there is more depth, as you work.

Can you post your reference?

Good start.

Hi Michelle!
 

Thanks for your response, and yes with three figures I thought a simpler background would make my job easier. The x on Chris's shirt isn't painted in yet, I plan to make it very faint, I don't like that strong image either. With Dad's expression in kinda says "do not cross". I don't want that image.

I'll post the reference photos later tonight or tomorrow. They were all taken on the same day and in the same spot. Since all three were uncooperative together, but had some great expressions individually, I made a collage of the photos and rearranged them into this grouping. I was also in the same space every time so lighting is no problem. Nick made faces, Dad didn't want to even slightly smile. Gypsy was the best model of the bunch. I talked to her, she tilted her head and smiled at the camera.

Jean

Chris reference (Dad)
 

Sorry this took so long, life got complicated. Here's Chris, he grows his hair long, then cuts it short and donates to wig manufacturers for cancer patients. He is my oldest son so is available for life also, and notice the eyes!

Jean

Nick
 

Again, Nick's image.

Jean

And Gypsy
 

Tom and I took care of Gypsy for three years, but Chris and Nick are really the Masters.

Jean

Collage
 

Sorry this is so complicated. I printed these pictures out, cut out the images, and made a collage of the three to get the composition. I have access to them whenever I want so can work from life too, only in short spurts, but enough to work on a particular area. I'd post my progress at this point, but it looks a little scary right now.

Jean

The reference photos look good and the drawing looks right (though I won't be able to tell about the details until you get farther along and post some closeups of how the faces are coming along.

I'll comment just on the faces for now.

The major issue I see with this piece so far is that you are missing the major value changes. The whole left side of the Dad's face is MUCH darker than anything on the light side. The same is true with the boy. The whole area in shadow should be much darker.

Squint, squint, squint at your reference all the time to see where the large masses of lights and darks are.

Check out this link, if you haven't seen it before. It's a description I posted a while ago to help artists see the range of values in the faces they paint.

As Peggy Baumgaertner often says, we need to be sure to capture the full roundness, the "egg shape" of a head before we concentrate on details.

http://forum.portraitartist.com/show...&threadid=1863

Update
 

Hi Michelle,

Chris still looks pretty scary. Haven't worked much on his eyes (his right) but just wanted to show that I've already started darkening the shadows. For some reason I seem to start light on the faces (fear or timidity), then add all the values. Next portrait I'll try getting right to the true values first.

Next to go is the X. And I'm not real happy with the background, but I'll still keep it simple. Thanks for the comments. I like having someone looking over my shoulder. :)

Jean

Much better. Watch out that you don't put too many light values in the areas that are in shadow (like Dad's cheek on our left). It may be lighter than the rest of that shadow area but it's still darker than anything on the lit side of his face. Same thing with some too-light areas on the boy's forehead.

Also, be sure to soften the left edge of the dog's fur so it blends better into its surroundings.

Nice going.

Chris and Nick up close
 

Hi again, better photo this time (color). Here's the progress.

Jean

And Nick
 

Chris's green eye still pops too much, I'll be toning it down. He calls it his "babe catcher".

I'm still working on values in Nick's face, will tone down the shadow side cheek, and be softening his eyes and mouth, etc.

Jean

Much better!

Progress report
 

Hi everyone, It is so nice to be working at a reasonable size instead of tiny!

My challenge to myself on this one is in color mixing. I'm not allowing any browns or black to create the colors in this painting. My only exception is burnt sienna which I mix with ultramarine blue for all the deep tones. The greens are mixed from various blues and yellows. The background is cerulean blue with cad scarlett. I figure the only way to understand this color stuff is to do it the hard way. I din't realize I would have so much fun! I love creating color.

Jean

Chris' eyes
 

It is very disorienting to paint two different colored eyes on the same person. I've been looking at Chris's eyes for 27 years but it is very different to paint them and make them look real. I'm still working on all faces, and know that I need to soften and lose edges. Also have started darkening the background and like it better. Gypsy still needs a lot of work, but is starting to look like her silly self.

Jean

Nick
 

I like kids, and am having fun with him. Have begun working on his hands. Face is not done yet. If you see anything wrong, please advise. Thanks!

Jean

It's coming along nicely. Watch that you maintain the roundness of the child's forehead. There are too many light areas in what should be the shadow side of his head and it is flattening and distorting the form.

I think a darker background color in some areas would be good also.

On the Dad's eyes, is the blue/green one really so much lighter than the brown one?

I'm looking forward to seeing what you do with Gypsy.

Nice progress!

Chris's eyes
 

Hi Michelle, Yes it is that much lighter. But for the sake of the painting I think it needs to be toned down much more. It just pops right out at me. But in reality they are riveting to look at, if the light had come from the other side, it would have been even more startling.

Jean

In the reference photo you posted the Dad's blue/green eye is much less saturated in color and is shaded quite a bit more than you have painted it. You have also drawn it more wide open than it is in the photo. (The upper eyelid arches up too much.)

Fixing those things will make the difference less apparent -- unless of course you WANT to emphasize the difference in eye color. If that is the case, it will become the focal point of the painting.

Speaking of focal points
 

When there are three in a portrait, do I make one the primary focus or concentrate on three sets of eyes as the center if interest? In seeing it posted here (smaller helps) I think it needs to be less obvious. I'll shade and lower that eyelid as you suggested. Thanks!

Jean

I just finished a commission of three kids and I made all three sets of eyes equal in importance.

If I was creating a painting for myself I would have composed something more interesting with one dominant figure, but since it's a commission the parents don't want to favor one kid over the others.

Focal points
 

Its time to get to work now, after working on his eye I'll see where this takes me. Since he is the father and dominant in the picture his eyes may be the focal point, simply because of the coloring. Will be in later. I appreciate your input.

Jean

Eyes!
 

I love eyes. Here's the update. Its getting there.

Jean

Oops
 

Don't know where it went, I'll try again.

Dark to light
 

Jean, I am reminded of how we were taught to work from dark to light in oils. In your painting, you worked light to dark. Your reference photos have rich darks which are lacking in your layout. If you were to work dark first, then slowly add the lights, leaving the lightest colors for last, your painting would have more drama.

Trying again
 

Chris

Yeh!
 

Now Nick.

Tom's been messing with the computer all day, don't know what he did but I got an image up!

Jean

It's getting a lot closer. I'm glad you can post images now.

The Dad's blue eye is still much lighter than the brown one. Squint at your reference photo or better still, convert it to monochrome and check the values.

The son's forehead is somewhat overmodeled, though it's much rounder than before. (The forehead needs to have simpler large value transitions, more blended, less blotchy.)

It's coming along nicely. Can we see the whole image?

Here's something you may find useful. I made the reference and the painting the same size, converted them to monochrome -- and reversed the images. The reversal will help you see the work in a fresh way. It's akin to the old masters' method of checking their work in a mirror to see errors, which is something they did all the time.

What I see in these images is that the brown eye is a bit too light and the blue eye is much too light. However, what jumps out at me even more is the overmodelling in the shirt.

Try this method with the whole painting, and the different parts of it too. It will show you lots of things to change that you will see immediately.

Hi Michelle and all
 

Boy, does Chris look strange backwards! I'll print this out, and work with tomorrow. Thanks!

Chris and Nick came over tonight to view the portrait, Nick immediately ran over to it yelling, "that's me, I'm in the picture, there's Gypsy, how'd you do that"? I love kids, they're so real.

I put Chris right next to the painting, and made some changes in eyes from life, the brown eye is quite light with gold blotches. The green eye is actually more silver and darker that I've made it. I'll post again (the whole thing) when I have good light to photograph it. You're so right about the sweatshirt, it wasn't done anyway. Have made changes to Chris and Nick's hair color (based on life).

Chris shaved his beard off, and is talking about getting his hair cut now instead of waiting for two more inches. Have you ever shaved a painting? Think I'll disown him.

Jean

The whole thing
 

Hi, I've done much on Chris's shirt, and eye. Not done yet, but it's toned down a lot. Please disregard the background, I haven't worked on it since deciding to darken it in areas. Now if I'm lucky, I can still post images.

Jean

Chris up close and personal
 

The X on his shirt is way too evident, so disregard. I'lll be toning it down next. I wish I would have straightened his shirt out, but this is a learning experience, and Chris is my rebellious one. So this is in character for him.

Michele, at this point I don't know how to use all these programs that flip images, etc. I would rather spend my time learning painting and art. Guess I'll get a mirror!

Jean

The faces are both coming along much better now.

Because both shirts are so rumpled, I would drastically compress the value range in both of them, to downplay them much more than is shown in the reference.

I would try to put all the Dad's shirt values into a very narrow middle/dark range and I would put the child's shirt into a middle/light range and drastically desaturate the blue and red decoration on the sweatshirt.

Treating these complex and distracting areas as simplified value masses will strengthen your composition.

Here's an approximation of what I mean:

Hi Michelle
 

I've already started on Nick's shirt. The emphasis needs to be on the faces, not their casual clothes. The only time I've seen Chris dressed up was at my wedding to Tom. Both of my boys gave me away. Chris was gorgeous, does this mean I have to get married again to see him dressed up? Not worth it! Thanks for the time you've spent on this, it's appreciated.

Jean

It's amazing to see how the changes you've made have brought the portrait together.

It looks to me like Nick's head has a bit of a pasted-in look. Putting in the shadow cast by his head onto his shirt, as in your reference photo, would tie them together better.

New background
 

Hi Chuck, and welcome to this forum. You'll find much solid information and inspiration here. And thank you for your comments, I've begun working on Nick's shirt already.

Last night I attacked the background, I must have been nuts. When I got up this morning, I found violet, blue green and ultramarine blue blotches all over the background! Luckily, oil is forgiving and I painted again with a deep blue-black. I still need to incorporate it into the figures. Also started on Nick's shirt. Still need to tone down clothes and work much more on Gypsy. What do you think?

Jean

Nice choice to go with a dark background on this. I agree that you need to incorporate some of this color into the figures.

My favorite portrait artist for "studio" type backgrounds such as this is Simmie Knox who has a site on Stroke of Genius. Check out his work.