Portrait with WW2 theme

Terri Thickstun · 02-02-2010, 12:24 PM

I would appreciate any feedback on this portrait. It was requested by the client to have a WW2 theme, he had supplied the background print. It was a fun portrait to paint, I did the initial drawing from life and took color samples of the skin tones. Any thoughts how to better relate the vibrant skin tones to the overall dark background and clothing?

16x20, oil on canvas. Reference photo provided as well.

Thanks,

Terri

Thomasin Dewhurst · 02-02-2010, 12:41 PM

I like it. It looks like a memory. Very nicely composed and painted, and the aeroplanes in the background work so well - they are great to look at, and don't compete with the subject's face. I think you made up for the lack of colour with the texture of the various things in the painting - it doesn't look monotonous at all. Very nice work.

Terri Thickstun · 02-02-2010, 01:39 PM

Thanks Thomasin, your comments are very encouraging. I think the customer would be very pleased to hear that this looks like a memory, it's what he wanted to project.

Thomasin Dewhurst · 02-02-2010, 02:03 PM

Our family has been looking a lot at ww2 planes recently, so it is a nice co-incident to see them in your work - RAF? Some sort of dive bomber? (I am not at all good with the names of the planes!)

Terri Thickstun · 02-02-2010, 03:40 PM

Thomasin, I believe that it is a P51 Mustang....but I imagine that I know far less about these planes than you do :-).

Mara Schasteen · 02-05-2010, 12:07 PM

Terri, I rarely critique on the forum because I feel so much like the lowest artist who is a member here ... however, I also need to contribute to the forum, as I am so thankful for all the feedback I receive when I post paintings for critique. So here goes...

You asked how to make the skin colors relate better to the background and clothing. I am thinking it may not be color that you need to focus on, but edges and values, to achieve a better focal point in the man's face. When I look at this piece, though very well painted, I notice a similiar edge handling throughout the painting. It seems all edges, including skin, clothing, facial features and background, are all "medium soft." This continuity of edge handling causes my eye to wander around the composition, and disallows me to stop sharp at any given point. A nice hard edge would give me that urge. A well placed crisp edge somewhere in the shadows of his collar, for example, would shoot my eye to the focal point and let me rest there a moment. It would also serve to contrast nicely with the softly painted skin and facial features.

Secondly, when I squint at this photo, I see three basic values: blackest black in the shadows of his scarf and collar, a very dark value in his clothing and the background, and then the medium values in his face. When I squint at the painting, I see the darkest darks behind the figure. Perhaps, creating more contrast in value in the foreground (the figure) would serve to make him "pop" some more, which I think may be your desire.

To me, these two little suggestions seem fairly simple to address and if you chose to try them out, you may find color wasn't the issue to be addressed! Or perhaps they also may help clarify what may be bugging you about the colors.

Great Work!