Artworks

[Alexander Seliverstov]

Thank you for your comment Mr. Richard Bingham. I can see better than I can draw. So I do not like my artworks. All portraits are drawn in different styles. I am always in search of something new. Can I do a good Hyperrealism, but it is not something that I wanted. Not enough good advice from the experts.

[Claudemir Bonfim]

Beautiful work,

welcome to the forum.

[Ramesh Vyaghrapuri]

Love the very first and the very last portraits you have posted so far, esp the brushwork in the faces.

Please post if you have more!

[Alexander Seliverstov]

Specialists, specifically criticism please.
Portraits obviously not top quality, report bugs and I'll take it into account in the following artworks. Thanks.

[Alexander Seliverstov]

Can not insert new images.
The site is really dead, as Richard Bingham said.
I can not waste time. Go to my site and e-mail.
http://www.artepuro.es
Or here - here a lively dialogue, but no critics.
http://arts.in.ua/
Use a translator. http://translate.google.com/
All the luck!

[Alexander Seliverstov]

new artwork

[Patricia Joyce]

Alexander,
You have talent and it is important that you keep reaching, learning, growing in knowledge. Here is a "bug" for you to think about, all of painting and drawing in nature is about how the light falls on a subject, how a subject reacts to the color of light, the reflection of the colors around the skin.

You must remember to think first in drawing shapes, and the values of the shapes, equally important. Finding a palette is the greatest challenge but if you can master drawing and values you have a strong beginning. Instead of copying exactly what you see, think about what is happening to the planes, how the light falls, causes a cheek to turn, a fold to appear, etc.

Another aspect to consider is the creation of edges, some hard and some soft and some hidden, this creates depth in your painting.

Also, as a portrait artist, it is an integral part of my process to continually think about personality so that some of a subject's spirit appears in my work.

[Terri Ficenec]

Hi Alexander,

I think it's difficult to comment specifically when you post so many paintings and ask only for 'specific' criticisms -- where to start? Assuming you actually want specific things to consider to improve your painting... I'll try commenting on the two pieces in post #3 (the blonde woman in the black turtleneck and the man in the blue shirt. Let me start by saying there is a dramatic difference in the quality of these two works -- they hardly look like they were done by the same artist.

To my eye, the painting of the woman has hard edges everywhere, many of which could be softened to give her a more realistic feel. These overly hard edges (for example, around the base of her nose, the planes around her mouth, the side of her wrist where it turns from light to shade, her hair against her forehead, around her eyes/eyebrows etc.) give her an almost plastic appearance. To me the woman looks unfinished -- like she needs just a little more work considering how to make all the parts read together as a whole. Drawing-wise there are some inconsistencies too. The shape of her mouth seems off (her mouth droops on *her* left, yet the way she's leaning on her hand there would more likely push that side of her face up, if anything. . . and the shape of her face above her hand to *our* right of her eye reads somehow too wide to me? It's hard to tell because it looks like there might be some glare in your photo there, but it looks as if her shoulder could use a little more light on it, the light on her face is so strong.

The man's head looks reads more solidly. There are some minor things that read a little off - like his far cheek just beyond/below his eye reads a little bright to me, really pretty minor. The head overall is solid. The level of finish in the shirt, however, seems inconsistent with the face and takes away from the painting as a whole.

I agree with the comments above that your work shows a lot of potential. I'd suggest as you are working on a piece, especially as it is nearing completion, that you take time to step back and assess the work overall -- to make sure that the entire piece works together and 'reads' well. It might also help to get away from a particular painting for a few days so that you can look at it fresh, inconsistencies can be a lot more apparent with fresh eyes!

By the way, I love how you handled the girl with the oranges hair in the sunshine -- there is some effective use of soft edges!