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Petra Critique
I I posted this already in the Unveiling section and was looking forward to some kind of response but upon checking I see that there were 4 prior to mine and over 50 after my post. So I chose to post it again here. :?
This was from a model from our local college. I found this one easier than usual probably much of it due to the fact it was not a commission so I relaxed and tried to use color that was not my usual palette. More vibrant. She loved it . What do you think. Any information would be appreciated. :? Question, when does one feel advanced enough to venture to the Unveiling area? |
Petra 24x18", oil on linen canvas
1 Attachment(s)
Sorry, I didn't upload. :bewildere
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Hi Patt,
I like your free use of color, and the way you've kept the focus on her eyes despite all that color floating around. The shadow on her face is interesting too, and you have nice free and varied brushstrokes. I see different use of edges - that's good. I would question some areas, like her shoulders and hair, that seem too consistently soft. You could probably get some variety of edges in those places. There's a shadow under her jaw that seems like maybe it was part of the original drawing? It doesn't seem to blend well with the other shadows there. It's an even gray tone on my monitor. Unveilings are for any time you want to show something and don't care to have a critique. I don't think there's any specific criteria. |
The only thing I could add to Julie's great critique is that the overall color harmony of the skin tones seems off. The face is very warm, but the chest is very cool. A little matching of the hues would tie things together a bit more.
Great use of color play on the hat and surrounding areas! |
I think that if you use your hands to block out the face, you can then see just how differently the surrounding area is treated. You can also do the opposite and block out the surrounding area to the face. Try it and see if that clarifies things.
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Petra explained
I appreciate all the info given and I agree about the varying of the values color etc. Not to excuse --but my plan was really --not to plan as much as I usually do as I wanted the face in focus and to adknowledge it first. I really wanted this to be one of those unfinished looks of the surrounding areas. But I see that it just appears that I did not know what I was doing. Most of my commissions are finished to a "t" so to speak. With this one being basically an experiamental portrait study--I left it unfinished and tried to concentrate on her thought processes shown within her eyes.
,Do you see what I mean? Having said that--I still want it to look finished yet the focus realistic. More knowledge can only help me to accomplish that so I do appreciate your advice. Thanks for any input good and bad. I like varying my edges in portraiture and in my still life but does this look too overdone? |
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