I'm tryin' again

[Jimmie Arroyo]

More thanks!

What size is this? I'm concerned the nose stud (depending on the size of the portrait) may look like something else - like a mole maybe.

The total size is 13x28" and that closeup was about 2 1/2x5". I brightened the nose stud, so it looks more like a highlight off jewelry. Thanks for bringing it up.

My first attempt is getting overly tight and FAR from fresh

That's part of my problem also. My brain wants to do tight, and my heart wants loose. The rest of my body wants sleep. Balancing all three is tough.

Seriously, I can see you giving a Forum demonstration down the line.

Thank you, but that would be WAAAY down the line. I might be able to do it with graphite, but I'll need a ton-o-practice myself before I can get comfortable with pastels. Daniel Greene's tapes are very informative, so is Anthony Ryder's book. Don't think I could do that. My pastel tapes would be over 17 hours. 3 hours of finished work, another 3 hours of me standing there wondering what to do, an hour waiting for the heat, and ten hours dedicated to blunders and bloopers.

but the next time you encounter a model with this kind of heavy makeup, get in close and photograph just for eye detail

I think I was in such a rush to take the pictures, that I forgot to ask her not to wear makeup. This was the first time in a very long time, that I went to the model's house to take pics. I had been taking them at the shop I work until my art was causing problems. Now that I've done it a couple of times, I should be more relaxed with my head straight. I'm also considering getting a monitor to work from so I'd be able to get closeups for detail. Best Buy is having a sale on LG monitors and they have a rebate on them. My brother gave my a gift certificate, so I need to see how much I can save.

That in mind - how much further is it to a full color oil from here?

Even longer than I thought. I would like to concentrate on the pastels for now, and given only a couple hours a day to work on them, it's just tough to do more than one thing at a time.

Thanks also to Marvin and Carolyn for the nice words.

About the painting, I'm now stuck on the shirt. I have only a few blues to work with and I can't find a nice mid-tone. I painted the entire shirt burnt orange first because the blue I was using was too intense. I was thinking of maybe a medium gray to go over it, then the lights? Or should I just go out and get a bunch of blues? Maybe me and my credit card can go to Brooklyn this Monday and get some Doaks.

I am going to ask Linda about moving this over to the WIP area as I still have several more hours to go.

[Allan Rahbek]

Jimmie,

As you pointed out about the blue shirt was actually my second thought when looking right now.

Maybe you could make a warmer shadow in the deepest blue folds in the shadow side? That is an old trick, and why Umber means Shadow. Not in the shadows on the lit side since they are colored by reflection from the blue shirt itself, so they may be even more blue. ( Just like the folds in skin color are more intense in the light side of the face)
Allan

Ps. My first thought was, wow he is good!

[Jimmie Arroyo]

Thanks Allen for the tips.

So, I broke down and spent the money on the Doaks. His range of blues are beautiful, just wish I could have gotten more.

Worked on the shirt for a couple hours, maybe longer, and worked on her hair. Even with the new colors, the shirt was a struggle, reworking multiple times. The hair was a bit of luck, once I found a good color, it went fairly painless.

My next panic attack will be the background. I'm going to make some color sketches because I would really like to add some kind of border in the orange family. Preferably simple and basic.

Thanks for looking.

[Mary Sparrow]

WOW! Jimmie it looks fantastic.

[Garth Herrick]

Geez! Jimmie you are fantastic!

[Patricia Joyce]

Jimmie,
You are so AWESOME!!!! Viewing this piece this morning just gave me a shot of endorphins. What a great way to start my morning. I love this, Jimmie!!!!!!

[Carol Broman]

You need to buy yourself some oil paint and a canvas and get cracking! You have a gorgeous painterly style that is just screaming to be translated in a wet medium! Very inspiring. Thank you!

[Jimmie Arroyo]

Thanks very much guys.

Carol, I had been taking oil classes but it did'nt work out for a few reasons. Once things get better, I have intentions to start up again.

Thanks again.

[David Draime]

Jimmie,

You have raised the bar for pastels. Thanks a LOT!!!

[Sharon Knettell]

Personally I think (ahem) that pastels are underrated as a serious medium. They have a freshness, immediacy and sparkling color that oils sometimes cannot touch. In the 18th century pastellists were banned from showing their work at the French Salons' annual show because they outshone the oils. That helped speed their decline in popular usage. Most of us remember Degas from his beautiful ballet pastels, which he devoted himself to later in his career.

That said, I want to congratulate Jimmie for the beautiful piece, bringing pastel into the 21th century. It was not too long ago he was wallowing in his first effort trying to make sense of this particular medium. That usually happens in the first several attempts. That he was able to do this lovely piece on his second try is remarkable.

Beautiful blues Jimmie.

Secondly, I would not worry about getting closeups of eye details, there is usually distortion and the excess of detail can make our efforts look rather photographic and less painterly.