Next portrait

[Alicia Kornick]

This is my next portrait. I would like to leave the chair out, have the background as a soft garden scene. What about the foreground? Should I include something on the left of the figure and something on the right, to achieve a triangle? Please advise. Any suggestions will be welcomed.

Thanks,
Alicia

[Michele Rushworth]

When you say you want to add a garden scene "and something on the left and right", I wonder. I think other "somethings" could distract from the figure, but there is an even more serious risk.

I know some artists on this forum are successful at adding background and other items that are not in the original source material, but unless you are very accomplished, I wouldn't recommend it. Getting the lighting and angle right may be just about impossible.

It seems like her skirt is lifted too much in front. It might be difficult to "re-arrange" the fabric to cover her legs a bit more and still be able to get the folds right.

Also, does the client like the pouty expression?

[Alicia Kornick]

This child being only 15 months just would not sit still. I will post another picture that I am considering. The mother did like the pouty expression, she said she often looks that way. I tried to talk them into waiting until she was older, but to no avail. There are some other pics with the woods in the background that I could substitute. When I get a chance I will post the other picture. Maybe I should do another photo shoot? Thanks for the comments.

Alicia

[Karin Wells]

For some goofy reason, I like this photo...but not quite well enough to paint it. Sadly, I'm sure that this child would someday be teased and embarassed by that expression.

You lucked out shooting this outdoors! You had enough "white dress" to act as a reflector so your shadows wouldn't be harsh. I suppose the question would be, would you have enough light/shadow information in the dress to paint it convincingly. By the way, that dress and hairbow could make the painting - nice choices! (Even that hair would be interesting to paint...)

The part of the picture that does not work is that the "tucked under" leg does not "explain itself" (i.e., it really does not look like a leg). You could overcome this by putting it in shadow.

In general, in order to get more colors and interesting shapes into a painting, you can add colored bows/ornaments to the dress and hair. You can include a hat in the background with bows, flowers and/or ribbons too.

When you are photographing a small child on the ground, you need to be low enough so that you aren't shooting down on top of their head and losing part of the face. I like to aim my lens at slightly above their eye level...and that means crawling around on the ground too (ugh), unless you elevate the child.

Let's see your other photograph before you plan another photo shoot.

[Marvin Mattelson]

I hold a kazoo in my mouth when I photograph kids or animals.

When I want their attention I'll toot the theme of a kids song like Sesame Street.

It works every time.

[Alicia Kornick]

Thanks Marvin. Now all I have to do is find a Kazoo!

Alicia

[Peggy Baumgaertner]

An interesting thing happens when we view a scene, either through a view finder, in a photograph, or by holding up our fingers to box off a section of a setting. Some, like Albert Handell, write about intuitive composition. Ivan Kramskoi said that composition cannot be taught, at least until an artist has had the experience of forming his own compositions.

When you are looking at a scene, or at your photo references, often you are struck by one pose, expression, and layout that stands out. There is an interplay of light and shadow, value, rhythm and form that causes a quickening, an excitement. Something that makes you think "Yes, I want to paint that..."

All too often at this point, you start to fiddle about with the composition, eliminating some elements and adding others. Making the background darker, the hair lighter. All too often, you end up changing that which caught your eye and quickened your heart, making the painting less than it was before you began changing it.

I believe in intuitive composition. I believe in an artist's innate ability to see and be attracted to balance and rhythm. You don't have to be trained to see a cluster of shapes and say, "That looks interesting." Later on, with experience, an artist can begin to manipulate a composition, but initially, I think you must trust your eye, your instincts, your gut feeling, to identify a composition that works intuitively.

What this means, in the case of the little girl with the chair, is that there is something about the compositional elements of that photograph that attracted you. Was it just her face? Her pose? Or was the attraction in the entire piece as a whole?

As my friend Johanna would say, I quite like the chair. Compositionally, the broken pattern of the chair lightens and lifts the mass of the seated girl. The girl is grounded, lower in the foreground than the chair, and has a very interesting perspective. The base of the chair seat is the entry point into the painting. Her pointed foot in close enough to the body, and far away enough from the right border to keep you from leaving the painting. You don't need to artificially make a "triangle composition," the little girl is already a triangle.

I try to keep the composition as clean as possible. I ask myself , "Is there anything that could be added to make the painting better? Is there anything I could take away without it's being missed?"

More toys or a more complicated background would add nothing to the painting, but I would sorely miss that chair.

Peggy

[Karin Wells]

I agree with Peggy about that chair...it certainly adds to the composition!

Underneath all great painting is beautiful abstraction.

However, the chair would need to be redrawn/reworked as the photo distorts it. Dang.

[Alicia Kornick]

Thanks Peggy and Karin,

[Jim Riley]

Alicia,

The head, shoulder/dress and arm/hand seem to present great opportunities. Whatever composition you end up with I would recommend changing the boxy end of the dress on the lower right. Most of all, however, be careful with the leg. On my screen you cannot see any reference in the dress to suggest a knee and the leg tends to look as though in grew from her stomach.

I could see some possibilities with the chair but I wouldn't have the courage to attempt such a large shape along with it's competing white shades.

And make absolutely sure they really like and will live with the pout. It could be one of those decisions that later contribute to the "something is not quite right" question.

Good Luck