Danielle

[Steven Sweeney]

I'll just second the others' observations and say also that we should all be so lucky as to reach an "impasse" that reflects the level of artistic intuition and understanding of technique that is demonstrated in your work. If the learning curves of any others here have been a smooth constant ascent without any plateaus (or potholes or slippery slopes), they're pretty rare amongst the usual experience of battlers in the cause.

A very small technical note, relating to the eyes. I don't know if this "means" anything, but the light on the subject is coming from our upper left, but the catchlights in the eyes are in the right side of the corneal area. The catchlights are also quite large, as well, and the combined effect is to kind of make the eyeball "bulge" out rather sharply, especially in the eye on our right. The shadow under the brow on that eye on our right might also extend just a little farther from the nose shadow -- not all the way across the upper lid, but perhaps into the area where the upper lid is meeting the iris. This would allow that area to recede a little, to be "tucked into" the shadow from the bridge of the nose, and thus enhance the roundness of the eye.

As for training in isolation, it certainly has its drawbacks, and even well-written books are kind of quiet companions. I have profited greatly from art instruction videos, which besides often (alas, not always) conveying useful information, kind of invite a like-minded friend into your studio for a bit of human contact (though not, unless you want to ruin the tape, a shared cup of tea). Most of my videos are on oils, but for drawing and pastels I would highly recommend Daniel Greene's "Portrait Drawing" and "Portrait in Pastels" videos. Those are worth owning, because you'll watch them over and over. Because "new" purchase prices can be a bit over the top, be sure to check availability at libraries (including any distant libraries that may have network or reciprocal lending arrangements with your local branch). Alternatively, you might investigate online sites, such as www.art-video.com , where after payment of an annual membership fee, instructional videos can be rented for a fraction of the purchase price (and the rental may apply to purchase, if you decide that you'd really like to own the tape, after all.) Anyway, I mention the videos because I've always been someone who benefitted more from a five-minute demonstration of technique than a five-chapter explication of it (too often read in the after-fatigue, pre-dream final stages of the day).

To the extent that you are using books, keep in mind Harley Brown's advice regarding his, that it shouldn't be perused in an easy chair, but should be open right next to the easel as you actually do the technique exercises. I have to admit I don't often do this, though I had fantastic results when I did so with Paul Leveille's oil portrait book, and he has a similar pastel book, "Painting Expressive Pastel Portraits," with lots of procedural and colour demonstrations (though perhaps unfortunately without shots of the live or photographic reference).

Best wishes,
Steven

[Virgil Elliott]

Geri,

You've done quite a nice job on the portrait of Danielle. I especially like the flow of the hair. I have only one tiny suggestion. I think the highlights on the eyes would be better somewhat de-emphasized to avoid a glassy-eyed appearance. These are the reflections of the primary light source on the moist surface of the eye. Making them slightly darker and/or smaller would take care of it and let the viewer appreciate the beauty of your subject and the way you have captured her without distraction.

Keep in mind that I sometimes find things to criticise in Rembrandt as well, and I hold him in the highest esteem.

Virgil Elliott

[Geri Comicz]

Joseph,

Thank you for the artists name. No, Joseph, no teachers here, just life experiences. Wish I did have a teacher close enough to get to. I would run to the nearest workshop.

Steven,

Thank you for your kind comments. Actually, I have all the books you mentioned, Harley Brown, Paul Leveille and Chris Saper's new book "Painting Beautiful Skin Tones with Color and Light." Among others also. I find them to be a resource and an education that one could not survive pastel without. At least not me. I cannot find any books out there by Daniel Greene. I am sure they are there, I just can't locate them. I did take a moment, as suggested, and check out the video site. Daniel Greene has a video there for drawing a portrait. Has anyone see this? I wonder if it is worth the $69, if it is a demo in pastel?

Just a question, though it will show my ignorance. I really was unaware that one can "copy" or perhaps practice would be a better word, from a published book. Karin Wells suggests to copy the masters. Aren't these paintings copyrighted, hence, forbidding you or I to copy the work? Just curious. Hoping this isn't illegal, and not wanting to hear my doorbell ringing, pressed by a shiny badge, I have on occasion, found a painting in a book and copied it to see where my level of skill is, never reaching the level of the artist. Then nicely tucked it away in a draw. Just thought I would ask.

Virgil,

I have met nothing except, kind, generous people here. You are not an exception. Since I have no teacher, I need the suggestions if I am going to improve. And improving I need. I am my own worst critic. I have found that my eye, after a while, sees what it wants to. Then the obvious is what I have missed. That's why a fresh viewpoint is needed.

Hopefully, some day, I will be able to look at a painting and knowing the mechanics, will be able to comment. Believe me all suggestions have been taken as a view for improvement, carried out, and the results right on target. And I thank you all for taking the time.

Geri

[Steven Sweeney]

Daniel Greene does have a book on pastel work, but it is long out of print -- however, there seem to be gazillion of copies available, because I have seen them at mall discount outlets and on internet sites and so on. I wish I'd bought every one I'd ever seen, and parlayed them on Ebay -- I could have retired. Quite honestly, I'd send you my copy, but it's in storage a half hemisphere from where I am. But I'm serious, because my art "career" began by another artist's handing me a copy of one of her favourite books, and I'd be so happy to pass on the favour. Joe Singer has a good one, too, but it's older and out of print, and the fact is, the advances in colour printing technology make the more recent publications a lot more exciting to work with anyway.

You're a bit past Greene's portrait drawing video, interesting as it is. I'd recommend starting with his pastel portrait video, which actually incorporates the drawing video's teachings. However, it's about drawing and laying on pastel and you won't get a lot of "now this is cadmium red 373 and this is caput mortuum 242 laid over it". Still . . . Daniel Greene's very generous with everything he knows. I don't believe his studio has a website. I'll try to dig out the studio address (it's in North Salem, New York, just north of NYC, on the Connecticut border) and post it or e-mail you, and they'll send you a brochure with the video information. I wonder if there aren't at least a small handful of other artists, whom you might contact via a local art store bulletin board, who would share in the expense of the videos with you.

Again, the magic lies in just keeping at it. Scales eventually come to the pianist, muscle memory to the guitarist, molecular structure to the chemist. Truly -- and I hope you will believe this -- you've already mastered a great deal of the very hard work involved. Stop for ten minutes before and after every session and quietly, contemplatively remind yourself of that, without any obligations or expectations.

Best wishes,
Steven

[Joseph Brzycki]

Geri,
After a certain number of years after an artists death their work belongs to the public and has no copyright. Since all of the Old Masters are long past, it is ok for you to copy their works. I'm pretty sure it's ok to sell them too as long as you don't try to pass it off as the original. If I am wrong about any of this, someone please let me know.

[Karin Wells]

I really was unaware that one can "copy" or perhaps practice would be a better word, from a published book. K. W. suggests to copy the masters. Aren't these paintings copyrighted, hence, forbidding you or I to copy the work?

Nope. The Old Masters** are long dead (as are their lawyers)...if it still makes you nervous, you can copy from any book in the Dover Pictorial Archive Series...(there are thousands of 'em)...as it clearly states on the front that they are copyright free.

As far as I know, most major museums encourage copying and recognize it as the time-honored tradition in training artists.

The only problem you could have is in trying to make money by passing off your copy as the original. Making a forgery in order to defraud is immoral as well as llegal.

The unofficial rules in copying are to make your copy a little different in size and to clearly sign it as a copy after...(insert name of artist).

NOTE: I loosely define the "Old Masters" as pre-impressionist. I do NOT consider any Impressionist or any of those who came after them to be an "Old Master." I'm talking Titian, DaVinci, Velasquez, and going as far back as Giotto.

[Steven Sweeney]

The Old Masters** are long dead (as are their lawyers)..

Sounds awfully close to the punch line for a good-news/bad-news joke, or the definition of "mixed blessing".

[Geri Comicz]

Steven,

That's funny!! Mixed blessing. It probably is, for us.

Might I also say again, thank you for your support and encouragement. It's exactly what I need. Just to think that I have progressed over the past year is a great reward for me. I will keep looking for Daniel Greene book and/or video. It's not the $69. that bothers me, but not wasting it on something that won't teach me. (Of course let me qualify. Most things at this point is a learning experience.) I have seen videos that I was very glad were not purchased by me. Maybe I just don't know at this stage what I am looking for. As I said to Leopoldo, I have something in my minds eye that I can't get out or put into words.

Karin,

Although I enjoy the impressionists work and I feel a great deal could be learned from them, I also feel for the nittly gritty I would turn to one of the Masters that you mention. I am extremely fond of Murillo and Velasquez. I probably would begin, no I will begin, there. Thank you for sharing your knowledge, it is most appreciated.

Joseph,

Thank you for your reply. It opens an entire new world of work for me.

Geri

[Steven Sweeney]

It's not the $69. that bothers me, but not wasting it on something that won't teach me. (Of course let me qualify. Most things at this point is a learning experience.) I have seen videos that I was very glad were not purchased by me.

Me, too, Geri. I own some of those useless videos. You won't ever be disappointed in any of Daniel Greene's videos.

This pastel shows a great deal of emotion and love for the craft. The use of warm and cool hues are executed with profession, the placement of the figure on the paper is perfect and the hair is so well done. Beautiful pastel work.