Oil Mona Lisa

[Lam Hon Pong]

Hello, everyone.

This is my painting. finished August 17. The size is 16" x 12", oil on canvas.

I think the garment has some problems, because I can't see clearly in my photo when I paint it. Sorry about this.

Would you mind giving me some comments?

[Lam Hon Pong]

Here's the sketch of Mona Lisa.

[Sharon Knettell]

Lam, it is very hard to comment on a work if there is no reference to compare it to.

I can say that your drawing is very sensitive and well done. You seem to have a command of the form, but as I remember the Mona Lisa her eyes would be in the middle of her head, yours are too high. Also your skin tones need more color especially in the mouth and the cheeks.

Always have your reference clearly available. Tape it right next to the head you are working on or place it close by on a stand. When your subject and painting are close together you can look at them both through a mirror to see your errors. Never, never work without good reference.

You have a nice Asian feeling in the background. It would be interesting to see what happens when you use that sensibility in portraiture. It would make your work more unusual and interesting.

I have been studying and collecting Chinese tapestry and embroidery. I use their beautiful color combinations as inspiration and in backgrounds for my personal work.

I would like you to submit a drawing done from life, as I think the route to successful figurative work is based on studies from life, not copying photos. You can later work from photos after you have grasped as well as possible the nuances of skin tone in many light conditions. Working from photos stunts that growth and makes ones work look like what it is, a copied photograph.

Sincerely

[Jeanine Jackson]

Sharon makes wonderful points for us all to live by!

I would like to add that there is merit to copying the masters, which many artists have done in the past as a way to learn composition and technique. They would usually go to the museums and copy.

Having only photos to work from, I think we can call your study of Mona Lisa just that, a study with beautiful blending and an Asian sensitivity to the landscape.

What Leonardo was famous for in the few portraits he produced was the "Sfumato" (diffused) technique that comes from direct lighting. You have learned that lesson here, I believe. Added shadow as the subject's right cheek turns away would add to the desired effect.

I have decided to set specific goals for myself with each painting leading to my future masterpiece which will have it all!

[Lam Hon Pong]

Sharon Knettell, thank you for your suggestion about study life drawing.

It's a good idea to improve the observation of human form and proportion.

About the colour, I think using our own feeling is better, though of course, we want to keep a right photo source.

Here's the original.

[Sharon Knettell]

Lam, www.portraitsociety.org (grand prize winner year 2000) and www.nysopa.org (honorable mention year 2001) have examples of the fabulous work of Yugi Wang. He is, I believe, Chinese and he combines the traditional with an asian sensibility.

His drawing is incredible, something that only comes of years of mastering the figure from life. I don't know where he got his classical training but his skill is formidable.

I have posted, under the Composition subject, classical figure proportions. The artists you admire were all trained classically, of course, and learned directly from the figure. The training took years. In many cases they did not use color until their teacher felt they had a good enough grasp of form.

Yes, copying a master is a good way to learn but find yourself a school, teacher or atelier whose art you admire and study with them. That is the best way.

Sincerely

[Lam Hon Pong]

Sharon,

I think I like to create a story painting more than realistic portraits, because realistic portraits seem like photography, although you can create your colour, mood, and style.

Some professional portrait artists want to make a portrait painting for their client, so they haven't time to go to another topic.

I like to make a story or history painting. Here's one sample of Greek story.

[Khaimraj Seepersad]

Pong, you should go to Florence, Italy, and study at one of the ateliers, especially if you want to do imaginative figurative work. Seeing the paintings in the flesh will help you develop your colour and tone sense much better.

You need to get away from the photographs and work
from real life. You have a great deal of ability,
please don't waste it.

[Lam Hon Pong]

Khaimraj, thank you for your suggestions, but I am still studying design in Hong Kong.

I also want to visit France to study or work on art. I think that's a great place for all artists.

Whether I will have a chance, I don't know, but this is my wish.

[Sharon Knettell]

Pong, no matter what your subject matter, you need a thorough grounding in sound drawing, color, composition and technical skills. In order for your paintings to work, they have to be believable. Once you have a thorough grasp of your techniques, you can create any picture you like. Without a rigorous course of classical technique, your paintings would always look amateurish.

It is a real joy to have mastery, when your ideas can take flight. It is like being a master archer, you are one with the arrow and you can make it land wherever you want.

Photo realism, personally, is not my favorite art form and I think there is too much reliance today on literal copies of photos. The artists of the past did not have photos as a resource, but they studied all the areas I mentioned. They had a complete grasp of their techniques. Then they were able to paint those magnificent pictures.

Sincerely