Loretta, from life

[Dianne Gardner]

This portrait was done from life in six two hour sessions. Oil on canvas 16 X 20. I'm attaching a photo of the model but as you can see the photo was not used as reference except for a few minor adjustments. Please let me know what you think. Thanks

[Sharon Knettell]

Dianne,

I applaud your attempt to work from life, it can only benefit you in the long run.

You have some nice painterly brush work, but it seems there are some drawing issues. The neck for instance is way too long. Even in classical proportions, the neck from the clavicle to the chin is 1/3 the head length, yours is 1/2. The eye line is directly in the middle of the head. Your eye line is way too high resulting in the top part of the head being too shallow.

Are you working sight size or relative size? Have you worked in charcoal or some other monochromatic medium from life to familiarize yourself with form before attempting to paint in color?

I would recommend Roberta Carter Clark's book, "How to Paint Living Portraits". She has many diagrams of head proportions, portrait set-up and beginner exercises.

[Dianne Gardner]

Thank you for your critique Sharon.
I don't know why I made her neck so long. I have since corrected it.

I have worked many years with charcoal and usually get my proportions correct. This is the first time I've done the entire painting from life. I used a different method than what I am used to. I started in sepia and white with a value painting and then glazed and built the colors from there. Its the first time I've ever done that too and used instructions that I've read about but have never seen it done in person.

I usually paint alla prima.

Thank you for the suggestion on that book. I'll try and find a copy of it.

Here is a corrected version of the painting after I shortened the neck. Is it better?
Dianne

[Sharon Knettell]

Dianne,

Your neck and head proportions are much better.

Was this a group session or your own model?

It would be better to have had more simplified lighting so you would have a stronger light and dark pattern on your head. The disparate sources of light create a busy pattern destroying the form, it should be much simpler.

[Michele Rushworth]

I agree with Sharon, one light source (and windows are a light source) will make your life so much easier and result in a more three dimensional painting.

[Dianne Gardner]

Thanks for the additional critique Sharon and Michele.

It was done as a group session.

Yes lighting is a problem as my studio has a very large skylight. The sun passes so quickly over the skylight that it makes it difficult to grab the shadows. Therefore I began using a lamp. But we still get that sun from the skylight.

So do you think I should forgo the daylight lamp on the model and just depend on the skylight?

Thank you.
Dianne

[Marcus Lim]

Hi Dianne,
On top of Sharon and Michele's advice, you may like to look at the issue on perspectives. The way i see this portrait is a slight forward hunch by the model. As a result, certain features of her head and body are subjected to perspective. I hope it makes sense to you.

[Dianne Gardner]

Thank you Marcus for the observation on perspective and for your help. You are absolutely right.

However, I took the photograph after I painted the painting. The model was not hunched over but rather sitting quite erect when were were working. I only used the photo for some detail work on her face. It is not a reference photo.

I do appreciate your help.

Dianne

[Marcus Lim]

Oh i'm really sorry...i didn't know that was the case.

[Sharon Knettell]

Dianne,

Studio lighting is a rather complex issue.

I don't know where the skylight is vis-a-vis the model. Check out the book I told you about to help you resolve your lighting isuues.

If it is not a constant light source it is unworkable.