Tim and his teddybear

[Hanna Larsson]

Somehow it is easier to see what needs to be done when it is smaller. I see now that I need to go a little darker on the bottom of the cheek. You are apparently also teaching me what to look out for and how to critique my own work. Not bad!

[Marvin Mattelson]

In keeping with the spirit my previous post, to emphasize the light you need to lower the values in the ear. They are too light.

[Hanna Larsson]

I was thinking that, too, yesterday but I didn

[Marvin Mattelson]

I like the boy, too. He's my youngest son, Michael. A lot of love went into that one.

[Michele Rushworth]

Hanna, you said you aren't able to practice painting from life. You might want to try doing self portraits with a mirror.

Also, if you don't get a chance any time soon to go see masterful paintings in a museum you might want to check out the Rijksmuseum website. They have many wonderful closeup reproductions in their paintings section.

[Peggy Baumgaertner]

Hanna,

You have access to one of the greatest museums in the world, the Nationalmuseum in Stockholm. There you can see two of greatest portrait artists of all time, Anders Zorn and Alexander Roslin.

I am posting one my ten favorite portraits, The Lady With the Veil, a portrait by Alexander Roslin of his wife.

[Hanna Larsson]

Thank you Peggy and Michele!

Now I really can

[Rachel Mauger]

An excellent piece of work, and I feel as though most issues have been addressed so I would like to comment on attitude/approach.

The greatest piece of advice I ever received was to let go, not to be scared to make a mistake. I specialize in children and baby portraits and as you know must work from photographs. My greatest challenge has always been to capture likeness without being bogged down by the photograhphic reference.

Sometimes one has to take a deep breath and trust instinct a little and let go of the details in a photo.

I know it is easier said than done, and the longer you spend on a piece, the harder it is to take risks. I always try to remind myself the worst that can happen is that I have to start again and if it results in a better piece then it is worth it.

I would say good luck for the future, but you don't really need it!

[Mike McCarty]

Rachel,

I understand your comments completely. It is a scary thing to venture outside the envelope.

In this regard I think it is important to work on non commissioned pieces as often as you can. The risk is only your effort spent. I am constantly gathering reference material which will allow me to experiment.

The benefit of a photograph is that it can offer wonderful composition and from this a point of departure. Easier said than done.

[Joan Breckwoldt]

Rachel,

What great thoughts about 'letting go'. I will take your comment to heart. Thank you for sharing,

Joan