Renaissance Portrait

[Barbara Hudson]

Hello everybody.

This painting is not complete.

I have had real problems with the blouse that she is wearing. I cannot seem to make the creases in the fabric very believable and I am getting very frustrated by it. Is there any secret or rule that you should follow to achieve believable folds?

Also the blouse has patterns on it but I am undecided as to whether or not to include patterns.

Thank you for looking.

Barbara

[Barbara Hudson]

So sorry. Here is the picture.

[Leslie Ficcaglia]

Barbara,

Nice painting!

Whether you add the design to the fabric is your decision, but I would make it very sketchy and impressionistic if I included it.

As to the folds, I think they would look more convincing if they were a bit darker and more along the shades of the background or her hair in terms of color. As it is they don't seem to exist in the real world; the bright blue is so vivid and the shadows are even brighter so they don't read as folds. I would also tone down that blue overall because otherwise it's a real scene-stealer and very much draws the eye away from the rest of the painting.

Her face is beautifully done with lovely tones and shading (although the cheek is a bit too orange on my monitor). And I also like the way you've reflected the blue on the underside of her chin and on her hands. Again, nice job!

[Barbara Hudson]

Hello, Leslie, and thank you for your valued advice and comments.

After considering your advice, I will be strengthening the darker values in the blouse and I will also probably change the colour completely. I agree that the blue is overpowering and is dominating the painting.

I chose the ultramarine blue because I wanted the painting to match the curtains in a bedroom! Big mistake!

She will have to hang in another room.

I will also tone down her cheek a little.

Thank you again for your comments.

Barbara

[Barbara Hudson]

Hello again.

I have taken Leslie's advice and made a few changes to the portrait.

I have attached it and I believe that there is a definite improvement now and I am becoming more happy with it.

Having said that, I am always hungry for ways to improve my work, so please feel free to comment on anything else that you may feel is not working.

Thank you again.

Barbara

[Leslie Ficcaglia]

Barbara,

Wow! You have been busy! I think you could have accomplished almost the same effect with the ultramarine if you had toned it down more but I love the results of your new efforts. I'm sure you're as satisfied with those folds as I would be; they really read like wrinkles in the cloth, now, and the whole painting is much more of a cohesive work because the tones all fit together so well.

You've also darkened the fingertips of her right hand more, but I think I'd darken them even more so that the value and coloration were similar to that of the back of her neck and jawline.

Really nice work! Is this a commission or a painting for your own collection?

[Barbara Hudson]

Thank you, Leslie.

I was so pleased with this morning's work that I couldn't wait to post it, hoping that you might see the fruits of my labour.

I doubt that I would have thought of changing the colour of the blouse altogether, but yes, didn't it work ever so well? I love the way the ultramarine is still showing through the burnt umber. I have you to thank for it.

Yes, I will darken the shadows on her hand more. And I may tone down her 'orange' cheeks a little more, as the paint was still too sticky to work with this morning.

This is for my portfolio. I am a little tired of painting self portraits and my family and I'm not yet experienced enough to keep the commissions coming in. Maybe one day.

Thank you again, Leslie.

Barbara