Jade2

[Jane Bradley]

Oil on linen 36X24. Unfortunately there is reflection on the surface - I will try to get better images.

[Sharon Knettell]

Jane,

I think this a generally well painted portrait of an interesting subject. This, however could be improved with a color adjustments overall, especially regarding the background, the blue is way too strong. It also need to be modified so it has more gradient from lighter to darker.

When deciding on a color design for a painting, you have to consider, will it be a complementary, monochromatic or an analogous color scheme. These are often best worked out from the get go. You have the problem of a rather yellow orange face competing with a cool pink shirt and sharp turquiose accents. The blue background is to sharp to complement the face and fighs with the pink and turquiose, making for an unharmonious total.

The cool red calls for a dull warm grey green as a complementary background, the skintone, a dull blue grey and so on. I would suggest you do a color study to resolve these issues before you embark on a finished work. It will save you a lot of time and angst.

[Lon Haverly]

I think this is a marvelous painting. You can either follow the rules as Sharon has listed above, or break them, as only can be done in a painting. This breaks the rules in a very delightful way. I would be very proud of this if it were mine.

[Jane Bradley]

Sharon,
As I mentioned in a previous post re: another portrait, this was painted pretty quickly (for me) for a show that I had this weekend. However, I did struggle with what I was going to do with the background and was never really happy with what I ended up doing - basically it was a make do. I think your suggestion of doing some color studies prior to painting the final is a great one - something I have not done before. I really wanted something going on in the background - at the very least I wanted to give a feeling of atmosphere - and I know that I definitely have not accomplished that. Her face became to orange and the last day I was madly trying to bring it back from the brink. Now that I am back home I really want to do something to make this work. I will do some studies as you suggest (maybe in photoshop) and then hit it again. I really appreciate your help.

Lon,
Thanks so much for your nice comments!

[Jane Bradley]

I played in photoshop and am thinking that this background might work better - still leaving a hint of sky in the upper area . I will probably repaint the skin and de-yellow it a little also.

[Sharon Knettell]

Jane,

That is better. Now the first thing I see is the face instead of the blue of the background.

Was this painted from a color photo? Usually the color of the background is a guide to modify the colors of the skin and the clothing. The skin tones and clothing will have hints of the background color. Her right cheek would have subtle hints of the pink on it from the blouse.

Right now I am painting a model in a coral dress against a very pale cool green background. I have noted how the green influences the skin tones.

When you do a color study or plan a photo shoot you have to decide what is going to be the dominant bright. Is it going to be a pink, red, blue, whatever; then complement it with the opposite but subdued color. You can add a third color a little less bright than the dominant bright, but you would then complement it with an even duller complement and so on.

For example, a bright cool pink, complemented by a warm grey green, then adding a turquoise complemented by a duller red orange.

Look at Degas paintings to see how he orchestrates his colors. I steal from him all the time.

Another thing about skin tones, they do not go just from like to dark, in say a burnt orange, but might have flickers of pink, ochre, naples yellow or a bit of the reflected background color. Look at a Sargent to see how many discrete bits of color are actually in a face.

Lon was right, this is a piece to be proud of but pushing your color will bring your future work to another level.