Re-freshed and moved
 

These have been moved from the "unveilings" since it was brought to my attention that some people wanted to comment on the fact that they like the old better.

After all the workshops I attended this summer, I thought it might be intersting to look at the help it has given me. I hope this is what you think.

Upfront I apologize for some of the images (I always do - I can't wait to get a better digital camera) I think if you saw them in person you could see the difference much better.


I'll have to change computers to get the side-by-side comparisons so for now I'll put up just the new.

The main things to notice on "Jinny", are the change in values and edges also how the left hand is handled under the book.

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"Ben, the Painter" who was posted under "seasoned professionals" (I did that as a joke before Marvin's workshop, my apologies to all the "seasoned pro's" here) with the "Jinny" painting still needs some work.

I am showing him with the painting, because it looks like in the first one I had his head too short and now have elongated it, and added to the forehead too much.

The changes I worked with on "Ben" were again value, edges plus working on keeping the background creative but more understated. I liked the drop cloth concept but didn't want it to compete with the figure as much.

"Formal" the little oil, was always one of my favorites, but not anyone else agreed. I really want to work to make this one right.

After Tim's workshop we discussed the symmetry of the orginal piece. So this is what I concentrated on, plus working on the value of her skin tones as they flow from the main highlight after Marvin's.

To handle these challenges, I took the background draping (whose color and value I think worked best) and pulled it to the side like a true drape revealing another room barely visible. There is a hint of a window and wood floors.

"Peggy"

Peggy was a challenge for me for the way her body was positioned. Again value was corrected.

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Beth,

Are you photographing the second set of pictures under different lighting conditions, or are you really adding a lot of blue to the paintings? It seems like they're all bluer now.

I realize that I have a personal prejudice against blue, but I must say, I think it takes away from a painting. I'm a huge Rembrandt fan, and I feel that more is less when it comes to color (especially blue). Rembrandt used very little blue -- almost none in his portraits. When he used blue in landscapes, it looked out of place to me.

For an example of a fabulous limited palette (in my opinion), see the last article in the August issue of The Artists magazine (the issue with Chris Saper's article). There's an early Renior portrait, from his pre-impressionist days. I found it to be absolutely captivating. It was the skill, not the palette, that makes it beautiful, but it proves that more color is just more color. Of course, he later rebelled against "colorless" painting.

If you were advised by a pro to add more color, I'll refund your two cents.

Hi Beth,

I don't like the changes you made. These were finished paintings, and they marked a certain stage in your development. Therefore I wouldn't have changed them anyway.

The addition of blue or cool colours makes them look 'unhealthy', I liked the brownish colour scheme better. They all seem to have lost character somehow. The face of the painter doesn't look as much like him as the first version, is my impression based on the photograph of him standing next to the painting. The rendering of the forms is smoother, which I regret. I would even advice to make the rendering rougher instead of smoother if that suits your personal way of doing things better. One person suits it better to paint smoothly, the other by doing things in a rougher way. (But always be accurate).

I wish there was an 'undo'-button I could use to change them back into the paintings they once were. They weren't perfect, but they had charm.

Greetings,
Peter

I

Beth,

I

Thanks for your refreshing however humbling opinions all! Us old cheerleaders die hard, we dive in with way too much enthusiasm but I doubt this will stop. I need to find a closet so I can put old work in and lock it up forever, of course until it can start touring with the Pushkin exhibit - Just Kidding!

Jeff, yes my reference could be blue this day, I am notorious for bad Digital's, until I have the money I can for this time blame it on the camera, a little slack there, but only there.

As for "Jinny the Writer" she does look much nicer in person, because she is on the background we started on. My lashing from my last teacher went pretty much to the effect of:


Dang, he is right again as are all of you.

Stacey, I love it when people come out of the wood work, I am really sad now that I changed this one, but I thought people had real problems with this. Funny I didn't touch the fore ground at all, just the background to over her left should, it really shows what changing the backgrounds can do!

Now I am chewing my nails not to do this again. Please note if you think all is lost, look at "The Secret" in the Unveilings section it has been done since these.

Thanks for your support.

:) Beth

'Let it be' was written and sung by Paul McCartney.

Sorry Peter, I pick you for a partner in Trivial Pursuit - I must have typed it wrong! Does Yoko argree? :cool:

At least I didn't say Paul Simon...

Beth, great attitude
 

Beth,

You have the right attitude - and that is precisely why you will succeed. I love a good crit - and expect it from Marvin and my peers - without it we will never reach our goals in this harsh portrait world (eheheheh)

Since I saw "Portrait of Jinny" in person I do have to say I liked it much better in the original form too. The new background is too pastel-ish and I know she would want you to put it back. Everything looked more congruent in the original.

You have a great eye and have learned much over the summer - the secret and you know it -- keep painting......


Denise

Beth,

I'm still fairly new too, so I am still hesitant to speak (type) up immediately when it comes to giving a critique. I just wanted to throw in my opinion as well. And that is exactly what it is, just an opinion.

I like the changes for "Peggy" - to me it just looks more real and true. For the others, the first thing that I noticed was that the originals are warm and the corrected ones are cool - very cool. I prefer the originals myself. I was startled to see the painter changed. I saw that one when reading old threads when I was waiting to post. I particularly liked that one, the model, the pose, the background, everything. I feel like he is now more of a caricature of himself.

I admire your willingness to re-work those paintings! I usually will give up and start over - I am trying to be more patient. You've been working really hard - you go girl!

Beth,

Use what works for you and throw out the rest, no matter who it's from. There is a great deal of good information on the Forum, and sometimes from unexpected sources. Listen to people you respect and silently disregard the rest. Every aspiring artist should be open to learning something from everyone. Myself, I have learned a great deal about painting, and about human nature.

Keep painting,
Renee Price :cool:

Moderator's Note: This post was edited to remove references to another Member that were not in keeping with Forum guidelines.

Old habits die hard.

I had to go down to my show, take this one off the wall and replace it with another, bring it home and fix it.

As Steven said, I have let my workshops "percolate" for a while and I think this is a success.

For my husband to walk through my studio and say "I don't know what your doing to Ben, but whatever it is I like it", was a really good afirmation for me - this is Ben. I promise to stop now!

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Hummmmmm, maybe I should do something with "The Writers" hair?

Here is the detail of his face now:

Thanks for your input.

Beth,

I really like this last version of Ben best. STOP now!

I'm fascinated with the changes this one has gone through. Can you post all three together here, right in a row in order?

Do you sleep? You seem really fast. How many kids do u have? Last but not least, what vitamins are you on? (I want some)

Beth,

Just another note:

My husband looks over my shoulder occasionally - he has seen all 3 of your paintings of Ben. He has great eyes for art - better than me at times. He says:
"The first one was better than the 2nd, this third is MUCH better. The arms are awesome, the face is not as realistic as the arms though - but the arms are incrediable!"

I agree, the arms are terrific. I keep going back and looking at the one farthest from us and trying to figure out how that gray? line looks so real, yet it's a clear line.

That's better! - I like the playful background idea.

Peter

I'm reading Chris' book now. In it, she tells a story of a pottery teacher who divided his class in half. He told half the class to make a single pot... the best they could possibly make. Their grade would be based on the quality of that one pot. The other half of the class was assigned to make as many pots as they could, in the same amount of time. They would be graded on quantity, not quality. At the end of the week, the group that was assigned to produce quantity had made nicer pots than the ones assigned to make one fine piece.

Your prolific nature has compressed your learning curve into a steep incline. You can't paint that many pictures without learning something.

You've earned that "FT Pro" tag by your name. Now stop reading my drivel and get back to work!

Awe Kim admit it, you just like "Ben the Babe"! :) The line is a trick I picked up in Tim Tyler's workshop, it is a very technical tool - your finger, he is the best with the finger smudge. I think it's the one your talking about.

I'll have to get on a different computer to put them together, but thank you all for your input and help, I hate to leave things yuk, now what shall I do with "First formal" I love that one too much to not have it great too?

Beth,

I'm not admitting to a THING, but if you want a real great critique you send Ben on over here & I'll let you know how you did on the portrait. ;)

Kim, I am thinking this was not such a great idea! Scary! :)

Beth

I think Ben3 is a clear winner for overall fidelity to life. Beyond that it has some beautiful touches, like the almost turquoise back reflections on the shaded side of his shirt. It doesn't appear as bold as Ben1 in the area of the face, but I'm ascribing that to surface reflection from the lighting when it was photographed. On my screen the glasses are the darkest value in the painting, darker than anything in the face area. I can see the glare in the previous Ben3 post; it's really obvious. In the process of getting things from the painting to a forum post a lot can go wrong. This digital technology has its limitations!

John

Formal re-done
 

Since Stacey comments really hit me, this is one I truely loved too and didn't want it to be messed up. So, yes, I played with it some more.

Hopefully catching some of the beginners luck back.

image reshot 10-31-03

Again, this is a 9 x 12, oil on canvas.

Sorry, I have cropped her toes.

Here is the close-up of her itty-bitty face.

That's better, Beth.