Chris, Nick, and Gypsy

Jean Kelly · 02-21-2003, 07:12 PM

This is my latest, of a father, son, and their German shepherd. This is a work in progress again, only blocked in at this point. The father has a green eye and a brown eye so this should an interesting face to do.

I'm trying a simple background this time and using the "halo effect". Gypsy's back is quite dark and I'll be adding that later as I build up the paint layers. I was hoping that her back would lead the eye into the painting and keep it there. Are there any suggestions at this point on the background and my attempt to trap the eye?

I believe I may have to add Chris's hand and arm to Gypsy's right side, with his hand ruffling her fur. He doesn't seem to have much interaction with the other two figures. This was the best look I got from him. My challenge is to make him look more like Jesus and not Charles Manson!

Jean

Jean Kelly · 02-21-2003, 07:14 PM

The painting is 24 x 30 inches, oil on canvas.

Jean

Michele Rushworth · 02-21-2003, 09:07 PM

Jean, I'm glad you took the route of using a simpler background this time. The focus can now be on the figures. It will make your life easier too!

I wouldn't add the hand and arm unless you have great reference photos. (Too hard to "invent" or make it fit.)

I would play down the light "X" shape from the strings of the Dad's jacket. It's so central and graphic a shape that it will attract too much attention otherwise.

Be sure to focus on getting a full range of values in the figures so there is more depth, as you work.

Can you post your reference?

Good start.

Jean Kelly · 02-21-2003, 11:14 PM

Thanks for your response, and yes with three figures I thought a simpler background would make my job easier. The x on Chris's shirt isn't painted in yet, I plan to make it very faint, I don't like that strong image either. With Dad's expression in kinda says "do not cross". I don't want that image.

I'll post the reference photos later tonight or tomorrow. They were all taken on the same day and in the same spot. Since all three were uncooperative together, but had some great expressions individually, I made a collage of the photos and rearranged them into this grouping. I was also in the same space every time so lighting is no problem. Nick made faces, Dad didn't want to even slightly smile. Gypsy was the best model of the bunch. I talked to her, she tilted her head and smiled at the camera.

Jean

Jean Kelly · 02-24-2003, 05:27 PM

Sorry this took so long, life got complicated. Here's Chris, he grows his hair long, then cuts it short and donates to wig manufacturers for cancer patients. He is my oldest son so is available for life also, and notice the eyes!

Jean

Jean Kelly · 02-24-2003, 05:30 PM

Again, Nick's image.

Jean

Jean Kelly · 02-24-2003, 05:34 PM

Tom and I took care of Gypsy for three years, but Chris and Nick are really the Masters.

Jean

Jean Kelly · 02-24-2003, 05:40 PM

Sorry this is so complicated. I printed these pictures out, cut out the images, and made a collage of the three to get the composition. I have access to them whenever I want so can work from life too, only in short spurts, but enough to work on a particular area. I'd post my progress at this point, but it looks a little scary right now.

Jean

Michele Rushworth · 02-24-2003, 08:20 PM

The reference photos look good and the drawing looks right (though I won't be able to tell about the details until you get farther along and post some closeups of how the faces are coming along.

I'll comment just on the faces for now.

The major issue I see with this piece so far is that you are missing the major value changes. The whole left side of the Dad's face is MUCH darker than anything on the light side. The same is true with the boy. The whole area in shadow should be much darker.

Squint, squint, squint at your reference all the time to see where the large masses of lights and darks are.

Michele Rushworth · 02-24-2003, 09:14 PM

Check out this link, if you haven't seen it before. It's a description I posted a while ago to help artists see the range of values in the faces they paint.

As Peggy Baumgaertner often says, we need to be sure to capture the full roundness, the "egg shape" of a head before we concentrate on details.

http://forum.portraitartist.com/show...&threadid=1863