Underpaint Glazed

[Renee Price]

This is the finished portrait from the "underpaint" that I posted before. Even though this is completed, I didn't think I should put this in the unveiling section because I've only been painting for 1 1/2 years. This painting won first place out of 35 paintings at a regional art competition. Yay! Let me know the strengths and weaknesses of this painting for future reference. All of the color was done with glazes. Sorry to those of you who wanted to see the step by step process-- the photos did not develop well.
Renee

[Renee Price]

Here is the reference photo for the face. There is a different reference photo for the body.

[Renee Price]

And last, the detail of the face.
Renee

[Jeanine Jackson]

Congratulations! Isn't it exciting to see the value people place on portraits these days!!! This is a moving tribute to the gentleman in the photograph...

My only comment would be to encourage you to ask your models to sit for you. There really is no substitute... if you must paint from photos, try to get in some live model sessions along the way... even self portraits in similar lighting to see what the forms are doing.

[Karin Wells]

This painting looks pretty darn good and I congratulate you on your win!

However, I want to make some comments about your methods and technique.

I've posted your underpainting and the finished paintings side by side. Although you have chosen to paint this fellow in extremely difficult light, you have done a pretty good job of it.

When I do an underpainting, I try to make all the value relationships the way I want to see them in the finished painting. That is, the values are an important component of the composition in the beginning stages.

On the left, the figure is more integrated into the painting's background. You have successfully lost and found some edges and the composition is more of a "unified whole."

On the right, the figure does not relate to the background as well...you have changed the value so much that the contrast is greater and thus you have changed the design of the entire painting.

You may have intended to do this and that is OK.

But the beauty of an underpainting is that you have worked out a pleasing arrangement of shapes and values. With the addition of color, you need to carefully honor the basic work that you did in the underlayers and not alter it so drastically.

It ain't easy.

[Renee Price]

Karin,

Thank you for your comments; they will help me on my current commissions. I smiled when I read your comments on the changes in the background between the underpaint and completed portrait-- I got a new color of paint that I HAD to play with. Plus, I felt like he blended in too much with the background in the underpaint and I wanted him to "pop". For one portrait that I'm working on now, I will scan the resource photos and print them in black and white to be more aware of the tonal values (also back lighting). When the underpaint is finished, I will post it on the critique forum. I am very serious about my work and welcome any comments you can give me to improve.

Thanks again,
Renee