New haircut

[Steven Sweeney]

Yes, this little guy is coming along nicely.

Just a couple of Post-it Notes to stick on the wall for later.

I know that you're working on something else right now (skin tones), but come back to the transitions between the value areas and make sure they aren't too sharply defined, which will "read" as one flat plane turning quickly into another one. Even in the photo I can see that some of the purest color lies in those slower, softer transition areas. It will be easier to introduce that effect if you're working in wet paint, so that you can more effectively and seamlessly knit the areas together. Don't be reticent to repaint the adjoining areas if necessary, in order to have enough material on the canvas to work with.

The diffuse top lighting is making things difficult to read (as you already know). One area that I think could profit from the slightest tweak is across the top of the forehead. I think I'd reserve your brightest, coolest light for a relatively smaller area and gradually admit a bit more color and warmth as the planes of the forehead move out of that direct light (around the temples and as the light area meets the middle tone across the middle of the forehead). This will be subtle, as you'll have to still keep that slight enhancement within the "light" value of that area as a whole.

One last "value" note. The nose looks pinched, and I can see that it's because the small triangular shadow shape describing the upper wing of the nose is too dark, suggesting a stronger recess in form there than I think is indicated in the photo.

This may seem now paradoxical to say, but make any such modifications in the same painting style you're already using. This isn't a piece that will tolerate "overworking" in this or that area, so keep having the fun with it, too, that we're already seeing.

Cheers.

[Steven Sweeney]

Another look on the way out, regarding the light areas on either side of the lower lip. Again, despite the diffuse top lighting, I think you'll want to pick one side or the other as "deserving" of the brighter of the two highlights, and warm and color the other one just enough to differentiate it.

[Jean Kelly]

I got it all. Thanks! Now back to painting.

Jean

[Jeanine Jackson]

This is becoming a delightful painting. Have you found out the boy's name?

The cool light, warm shadow is great here. I would suggest keeping some cool areas where skin has youthful transparency, such as temples and cheek. Avoid ruddiness. If this should become confusing (as it is right now to me), I would refer back to Chris's book!

As Rosie O'Donnell would say, "He's a cutie pattutie!" I'd call him "CP."

[Jean Kelly]

This cutie-pattutie is named Josh. I think his parents think he's adorable too! He's eighteen months old, but looks older than that in this photo. I told the client that I could not paint him without knowing his name and at least something about him. I talk to my work as I do it, and was getting tired of calling him "hey kid".

It feels good to wake up in the morning and read such a nice comment. Thank you. I've watched your hard work on "Gillian" over the past weeks, and am positive your client will love it. And also, she doesn't need an amethyst bracelet, the line of her arm is graceful as-is.

Jean

[Jean Kelly]

I've made changes to his face as Steven has suggested. Added pale ultramarine blue highlights on left forehead, under eye and on left nostril. Widened his nose, added pale lemon yellow to area under lower lip. I've also deepened areas of his hair and added his tendrils. I've added warm color to the "turn" of the forehead and nose, also under his right lower lip. I like this little guy. It'll be hard to part with him.

Jean

[Jean Kelly]

Switching the color scheme in the clothing. I've changed the shirt color to pale ultramarine blue, with alizarin crimson added to the shadows. Cooled the vest with pale Winsor green and will be deepening the shadows more. I'm not sure what pigment I'll add to the deeper shadows yet. Time to play again!

Jean

[Steven Sweeney]

Wow, that's fun to see. You know, very often when I'm making those kinds of suggestions, I have to sit here and just visualize what might play out, but it's difficult, once you get two or three modifications going at once, to predict how they'll work together.

The softening of the transitions and the work on values and temperature have not only made for a better appearance overall in the representation, but have given back to this little guy some of the character we can see in the photo.

As George Peppard used to say, cigar in hand, "I love it when a plan comes together."

[Jean Kelly]

Thank you! With Chris sitting next to me and you calling the shots how could I lose.

Jean

[Chris Saper]

Hey! What do you mean Steven calling the shots!!!