Darla The second time

[ReNae Stueve]

Steven,

As I mentioned I would only be able to tweak a few things tonight, but after going over and over your notes Steven I couldn't wait to show you just how much better this looks with just TWO of your obsevations rubbed in. I reshaped her hair line on our right and I reshaped her irises. I also pulled the scarf around her neck. I'll post this photo, as poor as it is, so you can see your handy work. This new paint is just blocked in. There is much more to do.

[Steven Sweeney]

Headed in the right direction. It's often startling how an accumulation of small things can move a piece off the track, and getting those same small bits reoriented can bring it back. I have many times been ready to sign off on a drawing or painting, but wasn't allowed to, and hours later I'm still improving on it, and grateful that I had to come back to it with fresh eyes.

Try not to think of my suggestions as a list. Perhaps half of them will make the other half unnecessary. Do try to "see" every possible modification in your mind's eye first. Be sure of what you're trying to accomplish, and why, and of what you're going to do to get there. When you've done that much -- STOP -- take a breather, nuke the coffee, kick the dog for chewing on your brush handles, and come back to it after you've had a chance to see how that change worked out, both in itself AND in relation to the rest of the piece.

Try to be bringing the whole piece along at once. Don't rush that. Maybe you're done with one area and don't know it, because you haven't brought another "balancing" area along with it. Try to see it, try to explain to yourself what you're on about, and then go in and do it. Don't keep pushing one area out of uncertainty as to what to do next. That's when paint application gets thin and scratchy, and other misjudgments get made. Move to another area. Keep the whole process organic. Don't fall in love with any one area.

[ReNae Stueve]

Try to be bringing the whole piece along at once. Don't rush that. Maybe you're done with one area and don't know it, because you haven't brought another "balancing" area along with it. Try to see it, try to explain to yourself what you're on about, and then go in and do it. Don't keep pushing one area out of uncertainty as to what to do next. That's when paint application gets thin and scratchy, and other misjudgments get made. Move to another area. Keep the whole process organic. Don't fall in love with any one area.

Good advice...... It will be Saturday before I can revisit this. In between insanities? Been there AM THERE.

"Don't fall in love with any one area. " .... Very good advice, you've been reading my mind.....

I've been lurking here at SOG since 2001. I've seen more than a few Pro's take precious time to give pointers when asked, only to have well... no response... or no progress reports. Your comments are of great value to me and no, I'm not going to go through them like a task list, but as you suggest, carefully, working this piece as a whole. And I'd love to show you the progress because I know the great satisfaction that comes from teaching and seeing results.

Steven this will be great fun, and since it's not a commission, no pressure.

Type to you soon. Thanks again.

[ReNae Stueve]

Tried to expand the darker values, and the eyes are getting there. I see by these shots that the upper lips are too light, but I've got to walk away for tonight. It's dark... but what a fantastic Florida day I had. Thanks for looking.

[ReNae Stueve]

As Steven said, I'm done when I say I'm done.

I have spent the past several days viewing Morgan Weistling's DVD set. I may never be the same again. I've been feeling the need to loosen up for a long time now and this demo has re-charged me . I'm going to retreat to the studio, with some small canvas and still life subjects until I work through this feeling. We will see what comes of it.

I'm using the "Museum" setting on my digital to avoid the need for a flash. This photo is somewhat dull, but here it is.

Thanks for your time