My first portrait to you...

[Sophie Ploeg]

Hello,

This is a recent portrait I did and I am very curious what you think about it. It was quite a difficult one, as this was done from a bad photo the client particularly liked. I did several versions and was most happy with this one. Thankfully, the client was happy with it too.

But, what do you think? Any pointers?

Pastel, 24 x 30 cm on Ingres paper.

Thanks for looking.

Sophie

[Josef Sy]

Hi Sophie,

I really like it, too. I cannot see anything wrong that really sticks out. Maybe you can post the reference photo? I think you did a great job.

[Sophie Ploeg]

Thanks for your positive comments, Josef. Here's a reference picture.

Sophie

[Peter Jochems]

I think it's a good portrait, only a few things which I would like to comment upon, maybe it's useful to you.

The face on your work is lighter than in the photograph, which isn't a bad thing in itself, but because it is lighter, the difference in tonal values between the lighted part of the face and his white blouse disappears more or less. If the face is more in mid-tone with only a few highlighted parts (as in the source photograph), the tonal differences between face and clothing work better I think.

On the other hand, if you had made the face more mid-tone, maybe you would have needed another background, because then it would stand out less in relation to the background. (Choosing the right tonal values in the face/background and the white blouse becomes a bit of a juggling act sometimes. )

I don't work in this medium myself. In some ways the transitions between certain areas in the face appear to be very coarse. Maybe it's a matter of style, maybe it's something to consider, whether it would be appropriate to make the transitions smoother. (Although, in this case it suits the character, I think.)

Peter

[Richard Huante]

Hi Sophie,

Just a couple of suggestions on your pastel painting. The subject's left eye (our right) seems to be drawn a little too far to the right.

Also, you might try glazing some green tones on the sides of the face; this will help the contours "turn" and also separate the head a bit from the background. (Although my monitor may not be picking that up.)

Other than that, I think it's a very nice piece. Good likeness!

[Steven Sweeney]

To the point Richard made about the eye, a couple of things to have a close look at, very small and simple things that should take care of the perception of misplacement, I think.

--A vertical plumb line (true vertical, not parallel to the vertical axis of his face) from the tear-duct corner of that eye on our right just touches the side of the wing of the nose, in the photograph. In the painting, the line misses the nose. I think you just need to widen the eye a little bit, extending it slightly to our left.

--The shadow on the side of the nose, right between the eyes, comes up too far and across the bridge of the nose, causing the nose to "move away" from that eye. Push the shadow back down where it belongs and the nose will "return" to its proper position.

[Sophie Ploeg]

Thank you, Peter, for your tips on tone and value. I will keep those in mind with the next portrait. Really good advice.

Thanks also, to Steven and Richard. You've been most helpful. Thanks a lot.

Sophie.