Jackson

[Sandra Jackson]

This is a portrait for a friend of mine from high school. She wanted a traditional portrait with a gold "spotlight" background. I used one photo for the body and another for the facial expression. Please let me know what you think.

Thank you,
Sandra Jackson Codrescu

[Sandra Jackson]

Here are the reference photos. She requested that he wear a white outfit with ecru lace around the collar. I used a separate reference for the lace and brought the sleeves up a bit.

[Sandra Jackson]

Here is a close-up:

[Chris Saper]

Dear Sandra,

You've done a good job with some very challenging material! It is so very difficult to add head and body from different sources, but especially so when the angles aren't exactly the same.

You have done a nice job with the drawing, and there are just a few areas I'd suggest revisiting. First, review the tip of the nose and the mouth - the cheek in the head resource is squished against the older person's head, which removes perspective from the features and negatively impacts their symmetry. In addition I would study the clothing, finding folds and shadows to define its shape. You might also check the arms and hands. Little kids have such characteristically odd ways of holding their chubby little hands, (frankly, I think they are all difficult!) that it becomes very important to look for shapes and angles to give a sense of roundness and form.

My overall observation is that there doesn't seem to be information about the light on your subject - in the quality, color or intensity. The photo with the body reference does have a strong sense of strong directional outdoor light, although the head reference has such diffuse lighting that it's hard to have a sense of setting or direction - in fact the cheek on our right has more light than the cheek on our left. I think that contributes a lot to the difficulty in trying to decide how to paint the light -the conflict invites us to think, "Well, hmm, maybe I'll just "split" the difference", and as a result, there is no light direction at all. Finding the small cast shadows in the clothing, and looking for the qualities of the larger cast shadows will help. Photographing your subjects with a definite directional light will assist a lot in giving you the information you need to describe form.

The gold spotlight background is of course reminiscent of the typical studio photograph, and your friend's request may have less to do with aesthetics, and more to do with her stereotypical notion of what a "portrait" should be. I think it will be to everyone''s benefit for you to take control over such decisions.

Last, a note on color. By adding some reflected color into white clothing, you can integrate the subject and clothing/background. In the places where skin touches skin, keep all those shadows dark and very warm, for example, the nostrils, lips, mouth and eye corners, under the chin, and under the ear lobe.

Good luck!

[Alexandra Tyng]

Sandra,

Is it possible to take some more photos? I hate to be discouraging, but I am wondering why you are attempting to paint a portrait from these references. It is difficult enough to put together more than one reference, but if you do, it is essential to have the head and the body in the same light. I might attempt to draw a composite head from these two references, but I wouldn't try to paint this portrait! Many people are under the false impression that artists can make magic happen, Since she is your friend it should be easier to explain to her that you need better photos.

There is a lack of light, partially caused by the problems above, and the related problem of trying to invent too much. A definite light source has a color, which in turn will create colors in the halftones and shadows. You won't have to try and make up what you are not seeing, if you can have the pleasure of painting from what you see!

Then there is the modeling problem caused by using the photo you have for the face. How are you going to determine how his left cheek looks when it is not squished? You could use the other reference photo, but then you will have the problem of modeling the cheek in a different light. Having tilted the reference you are using, you've complicated your task and created an almost impossible situation for yourself. The chin needs to be longer and the left side of the face is too wide, making the set of the eyes slightly too far apart. But even then, will it really look like the boy? His mother might still be dissatisfied.

I believe the heart of the matter is making sure your references are totally satisfactory before accepting any commission or starting any painting. You have so much talent, you should not waste it by making this much trouble for yourself.

[Sandra Jackson]

Chris and Alexandra,

Thank you so much for your helpful responses.

My client loves the portrait already. She is waiting, check in hand, but I wanted to make it as good as possible before sending it out there. I have worked from much worse references, so this one didn't bother me too much. I'm sure as I get more skilled, I will not be able to tolerate pasting together images. I'd like to start doing my own photo shoots with clients to avoid this problem.

I have gone back into the face to "find" the light source. I am happier with it now. I'm so glad I came here for advice- I would not have known that was what was wrong. I added a cool highlight under his chin to bring the shirt reflection into his skin. I also lengthened his chin just a hair. I did a lot of work around his nose and eyes to suggest the direction of the light source. The light source is on his upper right. Is that apparent? I haven't added the highlight in the eyes yet, that is just the canvas showing through.

I went back into the shirt and incorporated some warm tones. I like some areas, but can't stand others. I'm afraid I'm getting myself in trouble now. Any words of advice would be great!