Franny

[Tom Edgerton]

This is Frances, sister of the little girl in the blue dress I posted a while back.

It's not particularly innovative in its setup...you've seen this many times before. But I'm posting it because I'm beginning to get hold of some things that have been plaguing me for several years, and I feel good about that.

I'm starting to see color for the first time, in a different way. Before, I sort of saw everything as shades of gray with color perceived after, almost like a grisaille, even when painting directly--in other words, I modeled with gray and color followed. This may have resulted from a preoccupation with the gray scale and nailing values correctly. Now I'm beginning to see color more from the start, and to model with more subtle color values and not just gray.

Also too, I'm beginning to settle into an attitude about detail that I'm comfortable with. The actual floor had a lot more detail in the grain, and the wallpaper had a pronounced pattern. But I subordinated all of this, and tried to develop a painted shorthand for the floor, without anally painting every board. This editing may seem contradictory with the quest I seem to be on for a direct, solid realism to the heads, but I don't want the environments to steal from the interaction with the subjects.

So, long story short, I'm still inching along, but feeling better about where things are going.

[Alexandra Tyng]

Originally Posted by Tom Edgerton

This editing may seem contradictory with the quest I seem to be on for a direct, solid realism to the heads, but I don't want the environments to steal from the interaction with the subjects.

It doesn't seem at all contradictory to me, Tom. How interesting to hear you articulate this process. I have experienced layers of this process ever since I started painting. I really like how you have described your particular version of it.

It's a striking portrait, the light glows, and the freshness of the color really stands out. You've really succeeded in subordinating the background and controlling the level of detail--I can see a change from the portrait of her sister, which was pretty recent.

[Garth Herrick]

Wow Tom!

Franny's portrait is gorgeous! I love the verticality of it, and the supporting bannister. Such a simple strong design! I agree with Alex that there is no contradiction to your detail editing, which is superb, by the way. It is perfectly obvious there is a fine floor, and rich wallpaper, and the detail is more than sufficient. Perfection! The color is great too!

Garth

[Enzie Shahmiri]

Tom, this is such a nice painting. I especially love her toes, they look so real.

The most difficult thing for me to learn to master is the hierarchy of detail. The Pakistani Girl in the WIP was and continues to be a real struggle, because in a relative depth less painting, there is so much going on that competes with the head. When to push the envelope and when to back of is definitely an acquired skill, which I am glad to hear you have successfully mastered.

Your work is beautiful and it is nice of you to share the flaws you see in your own work. I for one would have never noticed, but through your humbleness, have been given a chance to learn and understand.

Thanks!

[Allan Rahbek]

Tom,
ditto to the above said.

You have created a strong presence of this little girl by subordinating the surrounding details, and also because we eye-level with her.

The simple color scheme, pink and dark green, works so well.

Allan

[Ilaria Rosselli Del Turco]

Tom, lovely and solid work.
I also like her shy attitude very much, and the slight weight shift toward the back makes her so alive!
Thank you for showing and sharing your thoughts
Ilaria

[David Draime]

Originally Posted by Garth Herrick

It is perfectly obvious there is a fine floor, and rich wallpaper, and the detail is more than sufficient. Perfection! The color is great too!
Garth

Ditto to what Garth has said. And to what everyone has said. Just a beautiful, lovely portrait.

David

[Terri Ficenec]

So delicately handled. Just beautiful all around! Just love how you handled the very subtle color of her dress, the reflections of the balusters (sp?). . . and the floor reads perfectly.

Oh and don't let me forget to mention those perfect little hands and feet!

[Marina Dieul]

Lovely !
Very subtle tones. There's a feeling of the old sepia photos...
very nice to see on the close up how you simplified the ears, the light in the hair...

[Tom Edgerton]

Thanks everyone, for these encouraging comments...I don't mean to sound so tentative. There were the usual painting joys, like the unexpected splat of bluish highlights on the shadow side, from a window up the stairs. Nice to discover this while working.

Alex--Glad you see a shift, and I think it's progress.

Garth--Thanks as always. The skin tones are deeper than some I paint; this was summer and she was a brown little thing. At least a value darker than me. Somewhat hard to find cool tones as a result.

Enzie--There's very little actual detail in the hands and feet; I'm finding it's usually not necessary.

Allan--Most of "my children" look a little older than they are in my paintings (Franny is five), I think because I get on their level if possible.

Ilaria--Shy, and a little quizzical too, which I tried to keep in the expression.

David and Marina--Best to you both...I appreciate it!

Terri--The reflections are very thin; I wiped back to the ground rather than painting them opaquely.

Thanks again, all-TE