Flags

[Patricia Joyce]

Working on this for Father's Day. What a work of love to draw your parent. My dad suffered a stroke in January and every day with him is absolutely precious to me. He LOVES to tell his WWII stories and always says those were some of the richest moments in his life. He is president of his local Armed Guard Veterans Chapter. Once a month 10 - 20 of these guys get together for breakfast. I have had the pleasure of driving my dad and hanging out with these extraordinary men.

Anyways' to make a long story short. This is not complete. Still working on hair and have not gone in with white pastel. Any glaring problems please speak up!! You know, I can't see it objectively at all. I do know that the eyebrows need to be darkened quite a bit. And I have not decided how to finish the uniform yet, so any suggestions ...always appreciated

Thank you

[Jimmie Arroyo]

Hi Pat,

I think you're doing a fine job so far and it may be too early for suggestions on the uniform. Are you going to take this drawing to the edge of the paper or give it a more 'unfinished' look? Or, if you feel the uniform is too dark to work from, try working from a dark suit with similar lighting.

And regarding the lighting, it appears to be the strongest from above his right and some softer light from the left. Even if the light from his left were natural light from a window or flash bounced of a wall, the highlights you put in his eyes are too strong. I would put softer highlights coming from the right, although it seems that the original light source was high enough that his eyebrow/bone structure prevented a highlight in the eyes. I think, so careful where you place them.

Good luck (you're at a point where you don't need it anymore ) with the finish.

[Patricia Joyce]

Thanks, Jimmie,

You know I never thought about the highlights being non existent but with light high and to the left I guess that would be a situation where there would not be any seen. It is impossible to see in this reference post but there are very small highlights. So I will definately reduce what I have drawn and tone them down a bit - see how it looks. I don't want to finish the uniform all the way to the bottom of the paper. I like the tapering off effect on drawings, besides this is soooo dark. But I think dad will want the military "strap" that is over the shoulder to be in the portrait as I think it signifies the Armed Guard division of the Navy. That means I have to render the "tie" which will be difficult as it is barely seen in this dark photograph.

Wish me luck - I still need LOTS of it. But thanks for the compliment nonetheless - always means so much coming from you, my drawing MENTOR

[Steven Sweeney]

Hi, Pat,

I'm supposed to be working so I'm surfing the Forum instead. I haven't been able to follow along for quite a while. Your diligence and perseverance in the months (years?) since you first posted here is showing up in your current work. Congratulations.

On the run (the law of economics chasing me), so two quick looks at "minor but worth working on" areas:

1-- the uplift of the corner of the mouth on our right (in the photograph) is a characterizing quality that I'd try to capture. That is, the corners of the mouth are not generic mirror images one of the other; the final line of shadow on the right rises more in keeping with the flow of the lines of the lower lip.

2)-- harking back to the old advice of looking at shapes within shapes, I think the ear on our left is a bit wide in the upper contour, and I think it will correct itself if you look not at the contour itself but at the size, shape and exact placement of those two shadow shapes within the ear, relative to each other and to other nearby shapes. (Think "shapes," not "ear." The ear will take care of itself.)

Finally, don't be afraid to work some darker values into the appropriate places, with a very dark accent here and there. I think you're trying not to get sucked into the low key of the photo, but remember that you're also trying to depict form in a representation that must stand by itself, and that requires value range (or, at least, value differentiation). Don't peer into the photo to the point of eyestrain, though. You'll just "know" where some value adjustment is needed -- as, for example, a darkening along the left side of the neck, to create a columnar rather than cut-out appearance. (You could also pop the original image into Photoshop and play with the brightness and contrast to exaggerate the values and help you "see" shapes that might be useful.)

There. As soon as I type "quick" or "brief," I'm already lost. But you needed a break anyway, right?

[Patricia Joyce]

Steven!!!!!!!!!
Oh it is so good to open up the forum and see your name. First, just to know you are around. Because you contributed so much to my development as an artist, I feel partial to ya! Your critiques taught me more than I could have ever learned in books or any classroom I have ever been in. I would advise any newcomers on the forum to go back into the archives and read EVERY critique Steven ever gave on portrait drawings. His lessons, his eye, and of course, his good humor and wit are priceless and will really teach you how to LOOK at your drawing/reference.

That said, I KNEW something was still wrong about the mouth and you spotted it right away, the simplest, slightest adjustment and now his mouth is dead on - I was holding it up in mirrors, looking at it upside down, and I knew it was off, just couldn't see where. THANK YOU!

I will revisit the ear, I think you are right just looking at it now. And I will go in darker as I finish it up, but you read my mind, in that I was afraid of going too dark because of the reference photo!!

Great to hear from you Steven. Hope you are painting up a storm and doing well, and that you come here to visit us as often as is possible...

Now, back to work!

[Steven Sweeney]

Originally Posted by Patricia Joyce

I would advise any newcomers on the forum to go back into the archives and read EVERY critique Steven ever gave on portrait drawings.

This is actually illegal now, having been uncovered as one of the nefarious abusive interrogation techniques used against prisoners at Guantanamo Bay.

It would probably never have come to light, had not the music being blasted into the compound 24-hours a day been a compilation of my high school guitar covers of John Denver tunes.

Next up: Mimeographed reproduction of my (Bob) Bouguereau copies from early art school.