Study for portratit of Sean P.

Deladier Almeida · 01-08-2003, 08:57 PM

This is a study in preparation for a full size portrait. 24" x 18" on canvas board.

Deladier Almeida · 01-08-2003, 08:59 PM

Close-up.

Steven Sweeney · 01-08-2003, 09:07 PM

Just a quick note, Deladier, realizing that this is a "study". The eyes appear to me to be coming in at markedly different elevations. (A line from the bottom of the eye on our right, perpendicular to the vertical axis of the face, misses the other eye by a full eye's height.)

Deladier Almeida · 01-08-2003, 10:06 PM

Thanks for pointing that out, Steve. I wouldn't have caught it as I've been working furiously on this in an attempt to finish it by tomorrow. It is a quick study (6 hours so far), but even a study worth doing is worth doing right. So I'll correct it now.

Chris Saper · 01-08-2003, 10:12 PM

Dear Deladier,

After your last piece, I am so much looking forward to seeing this one unfold. At this point I can only suggest two things:

1.Be vigilant about the degree of difference between the values in the light and shadow sides of your model's face, as well as the relative temperatures in light and shadow. Your photograph will falsely represent the darks as too dark.

2. Take at least as many process photos to share.

Kindest regards,

Chris Saper · 01-08-2003, 10:14 PM

p.s. I think you should get that clock out of your studio, and your brain. Beyond all, remember that the race goes not always to the swift. Whatever time it takes, it just takes.

Michele Rushworth · 01-09-2003, 05:44 PM

As always, I like to see the reference before critiquing a painting. Can you post it?

Just from what I can see so far, though, you might want to check the drawing here and there (eyes, as Steven mentions, and the direction the nose is pointing, etc.) Also there seem to be some very saturated slashes on the right cheek (from our point of view).

As Chris points out, painting is not a race. If you're timing yourself in order to keep your work looking spontaneous here's another possible way to approach that. John Singer Sargent was known to hold his brush in mid-air for a very long time, looking and thinking. Then he would place his strokes confidently.

The slow planning and the quick, deft brushstrokes are, I think, what gives his work the freshness it has, but also allows it to be perfectly accurate. (And, of course, we don't know how many brush-strokes he wiped off, or how many layers of paint there are underneath, until he got it right!)

Sharon Knettell · 01-09-2003, 05:58 PM

Deladier,

I too enjoyed your last post.

Re: the method of Sargent, I am no expert, but a book I do have said he would scrape out a head as many as 9 times. One lady posed for 6 weeks and he tore up the canvas and started again with a new one. The lady in question broke down in tears.

As to your study, the neck, on our left, seems too wide from the ear to the jaw. It also looks too far behind the ear.

Nice start though.

Sincerely,

Joan Breckwoldt · 01-09-2003, 06:03 PM

Hi Deladier,

Your painting technique has a lot of life to it. I can learn a lot by just looking at your study.

I am wondering if the reflected light on the subject's right ear and nostril are too light. Both the ear and nostril are in shadow, and I've seen discussion on this Forum about the lightest part of the shadow not being too light.

I'm learning myself, so I would love to hear any discussion on this.

Joan

Jean Kelly · 01-09-2003, 06:39 PM

Deladier, I'm also curious about your obsession with time. Please don't beat yourself up again on this one, it was painful last time!

I see the same problems as others with the eye and nose. Also the intense color may be distracting. I look forward to seeing this one progress.

Jean