My first oil commission

[Marvin Mattelson]

Congrats Patty,

I like the full space, but there right side needs to be pulled in for better balance. I really like the environmental aspect and the spaciousness. I think making the figures subservient to the landscape makes for a more interesting painting. Hey, but that's just me.

I would also move the horizon up slightly, so the boy's head isn't touching. I'd also make sure the horizon was parallel to the top and bottom of the painting. Do lot's of small color and value studies so that when you begin the actual painting you'll have resolved all your problems. I know you'll do a great job.

[Patricia Joyce]

Thanks, Marvin. You will see me seeking advice very shortyly! I'm getting excited.

[Enzie Shahmiri]

Looks like a fun project!

[Patricia Joyce]

Here is the first stage, painted with raw umber. Now that I have let it sit for a day I see that there needs to be some minor adjustments to the drawing of the shadow in the water and the value of the boy on the far left's arm is wrong.

I could use some input as to the placement of the horizon. Does placing the horizon above the kids close them in? It will of course be very soft and grayed to recede. I thought a high horizon would focus the kids more "in" the scene creating more depth. Does that make sense to any of you?

I opted for painting the whole landscape instead of cropping because I do not have much detail on the boy's face looking at the camera.

Thanks,
Patty

[Alexandra Tyng]

Patty, the most problematic thing is still the balance of the figures in the composition. I feel there is too much space on the right, not enough on the left. Even if you keep the figures small in relation to the setting, this still hold true.

The high horizon looks fine to me.

[Patricia Joyce]

is this a better composition, Alexandra?

[Patricia Joyce]

I did not see Alexandra's post about composition until I had begun to lay in color. I have ordered another canvas and they are backordered. So I decided to go ahead with this knowing that the second time will be better. I am moving the painting to critique section and am praying you follow . . . I have lots of issues!!!

[Michele Rushworth]

In this business, color correcting photos yourself is an essential capability, I think. (Unless you have the rare luxury of working from life for all of your commissons!)

I would get the negative (or a large print if you can't find someone who will work with the neg) digitally scanned. Then bring it into Photoshop and play around with color curves, levels, color balance, etc. I color correct or darken/lighten all or part of the images that I use on just about every portrait I have ever done. The photo is never sufficient in itself, and changing to be exactly what I want it is part of the creative process, whether I shot the photo or not.

Working with a photo lab can be immensely frustrating, time consuming, expensive and not give you anywhere near the control you need. Photoshop is pricey but you might be able to get a student price. Photo printers cost less than $100. The ink is expensive over time, though.

But the creative control you get by being able to make the reference into exactly what you want, at your desk, with your desktop photo printer, at any time of day or night, is so worthwhile.