Boy in question

[Patt Legg]

I have posted in the Creative Issues and said that I would attempt to post my image in question here. It is an Oil on Canvas, 20 x24 and as you can see, only partially done. I am having problems and will not go into them only to say that I have labored over this too long. Any suggestions are welcome,

I am hoping to post the reference following this one.
Thanks

Patt

[Patt Legg]

The reference for Boy:

[Alexandra Tyng]

Pat,

I've read about your problem in the "Creativity" section, so I have some idea of the situation.

I'm going to be really blunt. You MUST start again. No amount of fiddling and re-working is going to result in a likeness. Starting from the assumption that you need the money and want to feel the satisfaction of having completed this commission, there are two reasonable choices.

1) Use the reference photo you have, re-measure very, very carefully, and start again on a fresh canvas. There are serious errors of proportion in the portrait that I am sure you can correct, but only if you put that one aside first. If you are still having trouble, making a grid on an enlarged copy of the reference and then transferring this grid (in the correct proportions) to a canvas might help. One thing to watch out for especially is the tendency to straighten everything out. In your portrait you have made the boy totally frontal, whereas in the photo he is turned very slightly to the side.

2) You could take your own photos. There is lots of excellent advice on this forum. Even with an ordinary camera you could get results (light/shadow) superior to the photo you are using. He looks like a really appealing subject and I'm sure you could get a lot of enjoyment out of this commission with a better reference photo.

[Garth Herrick]

Dear Pat,

I hate to say it but I feel Alex is right. There is too much to correct on this canvas. Also the rendering of the light and shadow makes little sense with many inconsistencies from the reference. You will feel much better and confident with a clean good start.

Start again. Pay very close attention to drawing, proportion, and measurement. Pay very close attention to keeping the values consistent with the reference, so the light and shadow masses read well and make sense. Take your time on this and don't give into pressure to hurry. A careful start will make the finish a breeze by comparison. Be willing to make big changes and revisions in your drawing (I constantly revise and refine as I paint). Don't over-sharpen edges, and don't feel any edge or shape is so precious. Revise, compare, contrast, measure again, and refine.

Make a print of the reference image to the exact same scale as your painting, to aid in your proportion and measurement visualization. You wil feel so much better and more confident!

Garth

[Patt Legg]

Ouch !! Not that I did not expect that. Something happens between the start of the portrait and proceeding onward in my mind. Also I listen to others ( all the time needing affirmation) and they say you have the likeness ( not wanting to hurt my feelings probably) and ---hubby, looking for that monetary pay off questioning when, when, when are you getting that finished and off ? My creativeness has flown and feel that if I could block out all life at this point and continue then I could get it. I guess that's the difference in a Pro such as you guys are and myself.Well, thanks Garth and Alex for your blunt critique. It is deeply appreciated.

I will indeed do it over as difficult as it is. I have lost complete feel for this portrait and yet feel so obligated. I pray she does not call. The grandmother is in another state and this is 2 or her 4 grandchildren.

Thanks again and wish me luck.

Patt

[Garth Herrick]

Dear Patt,

I apologize for the bluntness, which is rare from me, especially when you need an affirmation to bounce off of. I too have made all these same "mistakes" in portraits I have done, and more than once I have started again, for the right result. I painfully came to the conclusion that I needed to paint Arianna and Taylor again (yes, there are two versions of this painting), and also Laura at Thirteen , the first version of which still haunts me, sitting in a surreal way on a big chair in another room. I had a bad start on Laura's face, and starting over was the right thing to do. I know it is not easy to focus again on a new canvas, but the courage and conviction returns when everything falls into place, as intended. So I've meant this critique to be affirmative for you, while blunt.

Here are some basics I'd keep in mind:
1. Relative to the shirt, the head is somewhat larger, and quite wide and round. Getting this relationship right will better represent the scale and age of this boy.

2. Get the vertical center line of the features, off center to our right, as shown in the reference. You seem to have reversed this.

3. Pay attention to the angle of the features, thinking of an imaginary angled line running through the eyes.

4. Note that the nose is shorter, but even wider in its wings; and that the eyes are wide set in relation. Draw a triangle traversing the tip of the nose and the eyes, and you will see it is vertically very shallow compared to your portrait.

5. The smile is wide. Pay attention to the shape of the mouth and lips.

6. The ears are diminished in semi-shadow, especially his left ear. Don't make the ear as bright a value as the chin! Also note the geometry and placement of the ears, especially in how they relate to the tips of that smile.

7. Be careful in explaining the hair color, which appears to be a standard winter-time blond so common with kids. I am confused by the dominance of dark and rich umbery browns, denoting decidedly a darker different hair color. On the other hand, much has to do with the nature of the transition from the light mass on the forehead diminishing as it reaches the hair. Get those transitions right, in relationship, and you can use dark values that describe blond!

8. Echoing what I just said, keep the modeling of the light in shade in relationship to the reference, without any unexplainable deviations, as (especially) in the neck.

While your current portrait has a degree of resemblance to the boy, it will be a strong likeness and winning portrait if you keep these guidelines in check. I do indeed wish you the very best with this commission!

Garth

[Garth Herrick]

Patt,

A good tried and true centuries-old technique to get the placement and drawing right, and spot-on, is the Grid Method. It's worth a try, and just as effective as tracing or projection. Make certain the aspect ratio of the start grid on the reference and the applied grid on the painting are the same (!) or you may get the face too wide or too tall. It is easy to get right. Print a spare reference image for the grid lines.

Also print a reference to scale with your painting. That's always a big visual help!

Good luck!

Garth

[Patt Legg]

Well, here is another humble beginning. I always do an umber study ( this is not complete with that). then to a dead color ( similar to the Old Master Flemish) and then into color. Am I even on the right track? I feel uplifted to have at least started over. I knew in my heart ( and eyes) that it was over for the last one. Please advise.

Patt

[Julie Deane]

Hi Pat-

I'll throw a little bit in here. Hope it helps.

This second attempt is better. It more closely approximates the likeness. But I am sorry, but I feel that there are still some drawing errors, that I will leave to people better able than I to voice.

To make it more like the child, I think you will benefit from either :
1. using a grid, as suggested, or

2. making the photo the same size as the painting, take tracing paper, trace the photo and lay it over the painting to look for drawing errors.

Many of us, including, I am convinced, the Old Masters, have certain characteristic distortions that show up when we draw. In my case, I know that I am almost certain to lengthen a head. My guess is it happens because I am used to seeing my own long, narrow head in
the mirror. I have to measure my portraits, especially the oil ones, because they can so easily go off. I also put the original and the art in Photoshop, line them up and compare. I often use the tracing paper method to check.

Before you go any further, check your measurements and make corrections. Best to take a long long time now when there is just an underpainting to deal with. You're on the right track.

[Garth Herrick]

Better, Patt,

Nice brushwork. But do what Julie and I suggest regarding a grid or tracing. Please do enlarge and print the reference to the same size. It only takes a few minutes. Also use a mirror to check your drawing from time to time.

Good luck,

Garth