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Scott Bartner · 08-09-2003, 04:22 PM

Dear Mike:

Let me first say that the composition is much stronger.

I printed off your drawing on my old Epson printer to study the overall light-dark pattern. The image that came out of the printer was as usual, faded and washed-out. Mike, it's amazing how stronger the face is when you further soften or even lose some of the (lighted side) shadows.

Let me suggest this: Is it possible for you to make 5 or 10 Xerox copies of this drawing and play around with them? See what you can lose with a light colored pencil or the like, without losing the likeness. I would start with the shadow that runs from her nose to the corner of her mouth on the light side of her face. Lighten that so that it's merely a suggestion. Try getting rid of the lower lip division (on the lighted side) entirely letting the value of the lip blend into the skin around the mouth. Lower the value of the exposed cheek on the shadow side just slightly. It shouldn't be as strong as the other cheek. Nail the forehead with a strong highlight showing there's solid bone there. And let that highlight make some kind of interesting shape perhaps meeting up with the brow. Lose the lighted-side bridge shadow. (Have you ever seen those police artist sketches of suspects. They all have that shadow evenly shaded on either side of the nose. Avoid this.)

When working on a portrait one often has the tendency to think: Oh, here is the face--let's tighten up and show every little detail. Do you have a Sargent book? Take a look at his portrait of the Edward D. Boit Daughters, especially the little girl seated on the rug. Look how little detail he needed to make a masterful portrait.

I guess what I'm trying to say is, I don't want you to to screw up a good drawing on my account. I still feel though the face could be re-studied, pushed foreward, losing that "copied from a photo" look. The difference between mediocre and exceptional is very slight here, but when these things are all worked out, the oil portrait itself will be a walk in the park. Well, not really--but at least you'll have a good map.

08-09-2003, 04:22 PM	#1
Scott Bartner Juried Member FT Professional 10 yrs '05 Artists Mag Joined: Jul 2003 Location: The Netherlands Posts: 178	Dear Mike: Let me first say that the composition is much stronger. I printed off your drawing on my old Epson printer to study the overall light-dark pattern. The image that came out of the printer was as usual, faded and washed-out. Mike, it's amazing how stronger the face is when you further soften or even lose some of the (lighted side) shadows. Let me suggest this: Is it possible for you to make 5 or 10 Xerox copies of this drawing and play around with them? See what you can lose with a light colored pencil or the like, without losing the likeness. I would start with the shadow that runs from her nose to the corner of her mouth on the light side of her face. Lighten that so that it's merely a suggestion. Try getting rid of the lower lip division (on the lighted side) entirely letting the value of the lip blend into the skin around the mouth. Lower the value of the exposed cheek on the shadow side just slightly. It shouldn't be as strong as the other cheek. Nail the forehead with a strong highlight showing there's solid bone there. And let that highlight make some kind of interesting shape perhaps meeting up with the brow. Lose the lighted-side bridge shadow. (Have you ever seen those police artist sketches of suspects. They all have that shadow evenly shaded on either side of the nose. Avoid this.) When working on a portrait one often has the tendency to think: Oh, here is the face--let's tighten up and show every little detail. Do you have a Sargent book? Take a look at his portrait of the Edward D. Boit Daughters, especially the little girl seated on the rug. Look how little detail he needed to make a masterful portrait. I guess what I'm trying to say is, I don't want you to to screw up a good drawing on my account. I still feel though the face could be re-studied, pushed foreward, losing that "copied from a photo" look. The difference between mediocre and exceptional is very slight here, but when these things are all worked out, the oil portrait itself will be a walk in the park. Well, not really--but at least you'll have a good map. __________________ www.bartner.com