Waiting in the Little Black Dress

[Jean Kelly]

These are closer to the original.

Jean

[Mischa Milosevic]

Jean, thank you for the closeups. You have done a nice job on lightening the arms and leg. Remember skin is soft. Skin glows even in shadow. Skin exhibits form and solidity. I say this in order to express that if there is a dark blotch or a dark line on skin it represents something. A dark line represents a gash. Remember that transition in value, when talking about skin, are gradual even when moving from light to dark. When moving from light to dark there is a long halftone or a shorter halftone. If the brake between dark and light is sharp and or abrupt as is on a box there we will see a definite abrupt contrast between two values.

The bleached out light you have on the girls chest hand breast are interesting but a question arises, what is the center of attention? In a painting or drawing of a person there is usually one center of attention. That center of attention can be shared by another person but at best one should most always dominate. In your drawing, a well done drawing, you have the breast and the chest area that stand out and dominate. Now, I see what you wish to do but to be able use this method effectively one must understand much about focal points in order to give the viewer art.

In short, I would suggest that you ton down her breast for the light expressed in that area can never be as bright being that it is not shiny metal or glass.

Again all the best to you and I hope I was able to help

[Jean Kelly]

Yes Mischa, you have helped. The most important part of your message to me, "one must understand much about focal points in order to give the viewer art", is something that I need to keep in mind. I fell in love with the drama of the shape of the highlighted area on her chest and lost focus of the whole as a drawing, I sacrificed "art" for impact. Her face and the expression is a much more important part of the whole. Here is a young woman, waiting and waiting, getting impatient and feeling sad at the same time-------many mixed emotions. So much potential there, but the first thing the viewer sees is this brilliant patch of light on her chest. So, I think I will revisit the subject with a new attempt, and just start over.

I'm unhappy with the shadowed parts of her arms and can't lift any more charcoal off. This, I think is due to technique and my lack of control (injury). I'm not going to beat myself up, but will simply try again, maybe using different paper, pencils, or blending techniques. I like her face, but not the my drawing ability of the stray hairs. Oh, "beautiful line" how will I create you again.

Thank you Chris, Allan, and Mischa, for being a part of this learning curve and the encouragement.


To anyone who is reading this and afraid of posting for a critique, remember it's just paper or paint, or charcoal or whatever. It's what is in the brain that counts, and one can never learn too much.

My mantra: "fear becomes anticipation, anticipation becomes excitement"! Now on to a new project........

Jean

[Mischa Milosevic]

Jean, the point is not to start over rather to work with what you have. Please do not be discouraged for you have a excellent drawing to work on. Sure this is paper and working with charcoal rather than oily charcoal pencils is a good thing.

It is not simple to give a detailed critique from a distance. So, we do the best we can always keeping in mind that the artist must learn to see. Think of it this way. when a critique is available it is the duty of the artist to see other areas where the same instruction can be applied. This helps to develop ones powers of observation.

Many artists think that by throwing paint around or charcoal around a master peace will evolve somehow. Trashcans are full of such ideas. On the other hand if one wishes success, with a drawing or painting, planing and patience must be exercised.

When working with charcoal one must be patient and pick out the dots that do not fit or add dots that need to be there. Don't rush it and you will reach your goal.

All the best to you.

[Jean Kelly]

Oh Mischa, the drawing is not in the trashcan yet. I was planning on starting over, but maybe I will continue with this one after reading your comments.

If I had done this from life, I would have seen that those highlights were much softer. This has always been my weak point, working only from photos (unless I'm outside working on a landscape). I do have a new lead on a model though, and am looking forward to working with her. In the meantime I may try drawing my feet , I can easily see them and they are always with me. Good practice in foreshortening also!

My goal is not to make a masterpiece each time I do something, but to learn and develop new skills within my limitations. I see no reason that I can't accomplish this, and find satisfaction and peace along the way. Impatience is a problem though. I do want (deep down inside), to create beauty, I want to have my work stop the viewer and take their breath away. I want, I want, I want--------------oops, time to take a deep breath and put my priorities back into place.

Thank you for your insightful comments!

Jean

[Jean Kelly]

I've knocked the light areas way back, and made her dress more "black". Actually I've done much more that that. I believe that the biggest problem here is my choice of medium. Mischa, you mentioned something about "oily charcoal pencils", and I think this as caused some of my problems in lifting off the charcoal. I used a mix of vine charcoal, General charcoal pencils, and black conte. Some areas simply refused to "lift" and may be due to the oil you speak of. I also use my fingers extensively, and I would imagine that any oil would also be deposited on the drawing. There are dark round spots that refuse to be erased! Next time I will limit my choices to vine charcoal only, and blend with the appropriate tools. I am also going to choose a simpler subject to start with and learn the medium before I tackle a complex subject like this. When I mix my types of charcoal, I will do it with knowledge, not just because it is there.

Thank you, this has been a tremendous learning experience!

Jean

Also, I stopped at her hands-----just didn't want to work on this any more. My photography skills are less than to be desired. Somehow the light areas are too light, her dress is actually quite black, and softened much more than the photo shows.

[Mischa Milosevic]

I find that the pink pearl pencil eraser 400-A series work the best on those difficult to erase jobs.

I mentioned the difficulty in distance critique so in order to give you an idea what you can do I have made some tonal adjustments. Again when erasing one must have patience. There are times when in the paper I get a dark, black dot, and it is right in the lights of the face. I have used a sharp object to slowly pick out just that dark spot and have not damaged the paper.

So, please have a look here and see what you can do. You should not stop yet.