Rose Study

John Zeissig · 11-28-2003, 05:29 PM

This is a study for one of the most difficult assignments (should you choose to accept it) in all of portrait artistry:

John Zeissig · 11-28-2003, 05:34 PM

Grayscale print reference photo.

Enzie Shahmiri · 11-28-2003, 07:58 PM

Hi John,

I like your painting and believe that you have risen to the challenge rather nicely. Your mother-in-law looks a tad younger, which should be pleasing to her.

A few observations you might look at more closely. The eyelids are a bit off. Look at her left eye for example, the lid should take on the same roundness of the eyeball, which it covers. You will also see a bit more of the eyelid because of the profile position.

Her right cheek could use a bit more roundness. On the scan of the painting her left cheek looks a bit sloppy and needs a more even color transition. The neck area could use a better color transition as well to suggest the roundness of form.

I especially like the way you pulled off her hair, it looks wonderful.

I hope these observations help you. I am sure she will love the painting.

John Zeissig · 11-28-2003, 09:47 PM

Greetings, Enzie,

You're right on about that left eyelid. It certainly goes flat across the top. Makes it look as though the eyeball is slightly squished! Also the left cheek/neck comments are very well taken. That area hasn't been really worked yet, and I knew there were things to be done there when I posted this. At this stage I found I was just lifting the previous paint layer when I tried to scumble over it, so I've decided to let it dry some more before getting back to that area.

We don't have very much time into this one at this point. We spent several hours on Wednesday painting in different backgrounds, and Rose thought the relatively simple, dark background looked best. The colors are way off as I look at it on this computer. Too red! I'll make corrections based on your thoughts and repost the revised version. All the highlights are really painted in very cool colors, but I don't see that here. I think I'll scan it on the machine with the scanner, but bring it over to the one with the LCD screen to proof it for the next post.

Thanks for the help, Enzie.

John

Michele Rushworth · 11-28-2003, 10:20 PM

The angle of the light (coming as it does from far to the side) and the very high contrast ratio (the difference between light and shadow) of the reference photo produces quite a harsh effect overall.

Something with more frontal lighting, and with fill to reduce the contrast ratio would be much more flattering, I think. This type of lighting is best suited to men, and perhaps other subjects, when you want to communicate a feeling of drama and intensity.

This lighting (as well as the very saturated shadow colors in the painting) makes her look like someone with a rather extreme, fiery personality. If that's what you wanted to convey, then it works. Otherwise, some softer lighting might be in order.

Jeanine Jackson · 11-30-2003, 09:49 PM

A softer, less chromatic background, or one that is different in color from the clothing might be worth considering.

I think she is lovely and very dramatic.

John Zeissig · 12-01-2003, 01:30 PM

Thanks for the suggestions, Michele. Yes, we are going for some

John Zeissig · 12-02-2003, 04:24 PM

Here's my revision of the Rose study. I believe I've incorporated all the changes Enzie suggested. After giving sone thought to what Michele and Janine said, I've dropped the contrast range a bit also. It was too dramatic in the original sketch. I hope this shows up better than the original post.

John Zeissig · 12-02-2003, 04:32 PM

It looked very dark on the CRT screen of the machine I'm using to post. Here's a close-up. I'll switch computers and see how things look on the LCD monitor.What a pain!

Enzie Shahmiri · 12-03-2003, 12:57 PM

John, I love the cheek, it looks much more realistic. The roundness of the eye is better as well. Just make sure that her upper eyelid has a better color transition. Based on the scan the value change between light and dark seems very drastic and it gives the appearance of her wearing a light eyeliner.

Sorry to say, but the neck needs work. Before you touch the painting, do a little exercise and draw a cylinder. Duplicate the same light and shadow as you see on the neck and make it curve. This should help you with the value transition. Right now the back of her neck is coming out towards the viewer, because the value is too light. Since the neck is in shadow the value transitions are very gradual.

I hope this helps, I can't wait to see her finished.