Sally

[Linda Ciallelo]

Hi, Jean.

I like number two. The only thing I would say about this is that I'd like to see you take the same photo again with a reflector of some kind on the right side, bouncing light back into the shadows, illuminating the right side of her face (our right, her left). A large mirror propped against a chair will work. Just position it so that you can see the reflected light from the window, projected onto the dark side of her face. Just a suggestion. Even a large piece of cardboard covered with aluminum foil would work.

I'm sorry to hear that you are in pain. I wish there was something that could help.

[Jean Kelly]

Hi Linda,

Will a large piece of white foamcore work? Thought I read that somewhere. The only mirrors I have are attached to the bathroom walls! I'll also see if Sally has one. Or will put aluminum on the foamcore. Thanks for the suggestion.

Oil is SO different from working with my fabric paint. I thought I would magically remember all I learned before, but I'm beginning to realize that I didn't really know very much. Never underpainted, never considered skin tone (my nudes were headless and blue/grey/green), never noticed "natural" light, etc. And I was the best in my class!!!

I told my husband that this is what heaven is. Paint, brushes, canvas and the aroma of oil paint. I'm happy.

Thank you for your concern and well wishes. I'm now seeing the best spine doc in Madison and he's a nut too. Great sense of humor. Bracing has decreased the pain level but is a pain in the arse!

Jean

[Linda Ciallelo]

Jean,

I had trouble switching from pastel to oil until I started painting on rigid textured (linen or canvas) lead-primed panels. The other thing I was doing wrong was trying to use the paint too wet. Someone told me to try using "no" medium at all. As soon as I started putting "dryish" paint on this lovely slippery texture, everything fell into place. It went on like pastel goes on Canson paper.

I use a little medium now, but not nearly as much as I tried to use originally. My favorite medium is:
two parts black oil
one part double mastic varnish
one part turpentine( or oil of spike)

I also use Trekell bristle brushes, for nice resistance and softish edges.

[Mike McCarty]

Jean,

I hope you don't mind that I doodled with your image. What do you think of this?

[Linda Ciallelo]

I like your version better Mike.

[Linda Ciallelo]

I couldn't resist trying this also. I love the colors.

[Jean Kelly]

Yes, I like your version better Mike. And, no, I don't mind your playing with the image. I only get a little "touchy" when someone messes with the actual art. (But since I have the original its a moot point).

And Linda, wow! That's really nice. What did you do! And I really like the colors too. How can I print this out? Could you e-mail it to me? Its neat.

Jean

[Linda Ciallelo]

That image is just using Mike's version of the photo, saving it to my files, and then using the "watercolor filter" on it, from Adobe Photoshop. I have found that using those filters really helps me to see the painting that is there. It just simplifies the values and takes away the distracting details. I'll send it to you by email.

[Jean Kelly]

A plein air portrait in late fall in Wisconsin is not my idea of fun. Snow, icy rain, wind, leaves blowing on everything, a model who hates cold, and me in a back brace! Things sometimes don't work as planned. So we've been working indoors. So what's the concept? We've decided to show a pensive, reflective, softer side of her personality that usually is hidden.. Wonderful soft colors (instead of my usual brights). I'm painting now, will post the underpainting soon under critiques.

[Jean Kelly]

After kicking my feet and being stubborn for a few days, I have come to the realization that my composition is simply not as good as what Linda and Mike came up with. Many thanks to you both. I've redone and started over and things are progressing nicely. With all the appreciation I can muster, thank you for being such gracious and generous teachers.

Jean