Back when they were cute

Elizabeth Schott · 12-05-2002, 02:01 PM

I know this is the dreaded 3 person, not the best reference, you should say no photo. But it comes down to the fact I need the money, and it isn

Elizabeth Schott · 12-05-2002, 02:02 PM

This is crop one:

Elizabeth Schott · 12-05-2002, 02:04 PM

If I use crop one I will have to put the little girl in slacks or do something tricky.

This is crop two:

Marvin Mattelson · 12-05-2002, 02:59 PM

I go with crop #2. Sometimes it is better to go with what you have and not start changing elements. Once you have the ability to replicate what's in front of you then you can screw around with it. Don't feel pressure to create a "great" work of art. Make your client happy and do the best you can do.

I would probably simplify the girl's arm on the right side of the picture and get rid of the yellow. You can also eliminate the patterns if you choose. I wouldn't change values, however.

Remember the best route is KISS. Keep it simple stupid (no I'm not calling anyone stupid!)

Denise Hall · 12-05-2002, 10:46 PM

I believe it was Richard Whitney who wrote in International Artist Magazine or American Artist magazine recently, "KISS" and it is one of my mantras as I attempt to paint anything because I have a terrible tendency to KIC....that would be Keep It Complicated.

I always add the stupid at the end, btw.

Steven Sweeney · 12-06-2002, 07:10 AM

This is a tough one, Beth. You have (photographically) a linear composition of three similarly blonde-haired (hued), light-flesh-valued, utterly featureless faces (without descriptive line, light-driven value or coloration), almost straight across the middle of the canvas (or paper), with a non-contrasting background -- all of which will be your starting point for a "portrait". The kids are dressed in colorful, variegated clothing patterns -- which might make a nice fashion spread for a Penneys ad, but it won't reveal anything about these kids. And you'll have to completely invent a background as well.

I realize that you were given this reference and are trying to make the most of it. Not many could, but some would be willing to have a go. This is one I'd say to, "I'd love to, I'm sorry, I can't. Both of us will be disappointed."

Unless, of course, you're doing it for free, or a couple hundred bucks. (Though I think there will still be disappointment.)

This will be my only input, since we're only looking at the resource. But what happens with it later will, I suspect, be heavily influenced by this reference photo.

Please build this critique into the body of other comments from many members on previous postings about the challenges of difficult references that you've struggled with.

Elizabeth Schott · 12-06-2002, 10:41 AM

Thanks Steven, see not only do I tend to pick the rotten ones they are brought to me on a silver platter.

The lady this is for is someone I have known for awhile. When I first started doing portraits she asked for this and remembered my rates at that time, I figured what the heck it is the holidays and I do need the money. So I know this will not be a portfolio piece but will try to make it wonderful for "grandma".

As Marvin stated, I am trying to keep the values the same. Which translates into what I have tried to illustrate here. Instead of going to my office and using my "real" software, I used the kids drawing program to just give an example of values given. The girl

Karin Wells · 12-06-2002, 11:24 AM

Since this is posted under "Photo Resource Critique" I cannot help but comment that this is the kind of reference material that cannot/should not EVER be used as the basis of a painting.

First and foremost the light is terrible. I cannot find anything "right" about this photo.

If you wish to improve your skills, you must make a serious effort to get some suitable reference material. There is a LOT more to painting than simply picking up a brush.

Elizabeth Schott · 12-06-2002, 12:25 PM

Karin, I can really sense your frustration with me concerning my reference material. I just want you to understand that I too am frustrated when a person brings me something like the photo above. When she wanted them at a younger age, I asked if she had more photos and her reply was this is the one my mom wants. Then I asked her to bring me more for additional reference. The price she is paying is lower than I would normally charge. But the real sad thing is this money is much needed since the holidays are coming up, so I can

Steven Sweeney · 12-06-2002, 06:45 PM

Quote:

I know it is hard . . . to watch all of the unseasoned pros do somersaults

Beth, this reminded me of a poignant short story read so long ago that I can only paraphrase it, but somersaults [cartwheels, actually] were used as metaphor to describe the difficult times a young girl had endured. "The secret to doing cartwheels," she said, "Is to get your feet back under you before you fall on your [butt]".

We're just the "spotters" here, trying to help you get that rhythm, so that you'll be able to land on your feet. You're working hard, and if you continue to do so, you'll get there. If you want to do this painting, for any of the reasons you've given, then by all means do so and give it all you've got. Just having been made aware of some of the inherent challenges will at least allow you to make better-informed choices about how to proceed.