Portrait Artist Forum - View Single Post

Sharon Knettell · 07-12-2004, 08:54 AM

Joan,

The only photo that could possibly be interpreted for portrait use is the standing figure.
Alas, it has a few problems as I see it.

A: There seems to be two sources of light, one warm, one cool. The face is warm, the hands greenish blue. It is better to learn how to resolve that than to rely on photoshop or some other computer program.

B: The choice of a background. It is baggy and it's heavily draped folds conflicts with the dress. The floor area is unresolved.

C: There is no color plan. Is it a red-green blue orange color scheme? What is your color design plan.

D: The dress is not what I would have personally picked for this young lady. She is rather busty and the frieze of rosettes and the sheen of the fabric only accentuate the problem.

One must approach clients with confidence and knowledge, only learning proper procedures will give you this advantage. I doubt that the Leo Caprio character could paint a portrait with bluffs.

A good photo course would be useful as well as subscriptions to W and Town and Country. We must learn how the gentry dress if we want to present them well or those who seek to emulate them.

This, of course presumes that you have put in the requisite time honing your portrait skills. One year of learning tonal drawing and one year of just painting the figure and head would be the basic minimum. Mike Dodson is setting a good example here on the forum with his series of head studies from life. They are excellent and fresh and will stand him in good stead when he has to make color notes from life.
A workshop or an atelier are also excellent options.

How far we go depends on how we lay our foundation work. We can thrill our friends and family with our copies of photos or we can diligently prepare ourselves for a more discerning and better paying clientele.

07-12-2004, 08:54 AM	#46
Sharon Knettell Approved Member Joined: Sep 2002 Posts: 1,730	Foundation building Joan, The only photo that could possibly be interpreted for portrait use is the standing figure. Alas, it has a few problems as I see it. A: There seems to be two sources of light, one warm, one cool. The face is warm, the hands greenish blue. It is better to learn how to resolve that than to rely on photoshop or some other computer program. B: The choice of a background. It is baggy and it's heavily draped folds conflicts with the dress. The floor area is unresolved. C: There is no color plan. Is it a red-green blue orange color scheme? What is your color design plan. D: The dress is not what I would have personally picked for this young lady. She is rather busty and the frieze of rosettes and the sheen of the fabric only accentuate the problem. One must approach clients with confidence and knowledge, only learning proper procedures will give you this advantage. I doubt that the Leo Caprio character could paint a portrait with bluffs. A good photo course would be useful as well as subscriptions to W and Town and Country. We must learn how the gentry dress if we want to present them well or those who seek to emulate them. This, of course presumes that you have put in the requisite time honing your portrait skills. One year of learning tonal drawing and one year of just painting the figure and head would be the basic minimum. Mike Dodson is setting a good example here on the forum with his series of head studies from life. They are excellent and fresh and will stand him in good stead when he has to make color notes from life. A workshop or an atelier are also excellent options. How far we go depends on how we lay our foundation work. We can thrill our friends and family with our copies of photos or we can diligently prepare ourselves for a more discerning and better paying clientele.