Portrait Critique on background

Renee Brown · 07-25-2001, 10:03 AM

Hi Everyone,

I had a mediocre photograph to work with with almost no lighting. I have done the best I could to add my own imaginary lighting coming from the left, over the girl's head and onto the wall behind the flowers. I would appreciate any advice as it feels that something is off. Thank you.

Renee

Chris Saper · 07-25-2001, 12:22 PM

Dear Renee,

Thank you for the opportunity to review your painting! Although you specifically asked for a background critique, I had some general thougth to share with you....

You mention that the lighting was very poor on your photograph, and that you needed to invent lighting. You are right to want the lighting to come from a sideways direction. It so very difficult to "imagine" lighting, particularly when it is flat on your resource, because you don't have a good basis upon which to judge the differences in value or color between shadow and light. Light has temperature (warm to cool) and without good information, (or many years of painting from life) it is difficult to see what color you are after. The skin color in shadow will be a different color that the skin color in light, rather than a darker version of the same color. In one of my very first workshops, given by Doug Dawson, the class showed portfolios on the last day. He looked at mine, and was very quiet, and finally said "Why would you accept such poor resource material?" It was one of the best pieces of advice he could have given me.

When you paint from photos, it is so important to have the best visual information you can get...good directional lighting (no flash) is really essential..it will establish the tone for your entire composition.

As I look at your background, I think your sensing a need to balance the portrait image at the lower left with something at the upper right is right. I like to balance pictorial elements, but in unequal amounts...the flowers are roughly the same size and value as the figure, so it is more difficult for the eye to know where to rest...and linger with your center of interest. A thumbnail sketch before you begin the painting is a great way to think through the placement and composition of your piece.

Best wishes, Chris

Renee Brown · 07-25-2001, 07:50 PM

Chris,

Thank you for taking the time to critique my portrait. I have already visited Karen Well's website and printed out her lighting advice. I called both companies that she recommends and in the next couple of months will order both the "background set up in a bag" as well as the "White Lightening Ultra 800" system from Paul Duff.

I can't wait to be able to control the whole background and setup without relying on the client's sub par photos. I am putting together 20 portraits for monthly rotating portrait shows throughout 2002 in my area. Models are scarce, So, I have been using photos from previous pastel portrait commissions to create these oil portraits. I have vowed to insist on using my own photography from now on. Your point is well taken.

I did attempt to place a lot of cool colors in the shadows. Right now I am working with John Sanden's book on Portrait Painting. Probably, I need even more cool in the shadows or else my digital camera may be recording too much warm color. Tomorrow I am starting a five week course with a highly recommended teacher in our area that specializes in Master backgrounds. I am hopeful he will teach me some great background techniques. When I was doing pastel portraits a few years back, I had the opportunity to speak by phone with Doug Dawson, whose work I totally admire. He gave me some really good advice and a workshop with him must have been an excellent experience. Dawson's influence is beautifully apparent in the painting of the girl on your home page. I also like the painting of the two girls on the beach. I do beach paintings of children, as well, and if you have time, please visit my website to see some of them at: http://www.LongIslandFineArt.com

I believe you have a new book coming out, correct? I am going to pre-order it, as I am sure to get some great solutions on skin tones. Once again, thank you, and I hope the next painting I post for critique will be much improved.

Renee Brown

Karin Wells · 07-26-2001, 09:03 AM

I think that the backgound, because of its mass, overwhelms the figure. I suggest simply cropping the painting a couple of inches to the right (as I view it) of the sitter's sleeve.

Renee Brown · 07-26-2001, 08:38 PM

Karen, Yes, that would solve the problem but even with a restretch on 16" x 20" canvas stretchers, she's still too low in the painting. You know, I put up the worst portrait I have for a critique because that's the one that was driving me crazy. As usual there are some paintings that just need to be ditched and this one may be a candidate. I am going to try one last thing by lightening up the value in the background. I have five months left to get the body of portraits done, so there's still time to start a new one. Thanks, I thought that cropping was a good idea. Plus I am so glad you posted all that lighting advice.

Renee

Paul DeLorenzo · 07-27-2001, 10:58 AM

Dear Renee, Michele and Mary:

Forgive me for addressing you as a group. I am doing so because I have the same advice for each of you.

Renee and Mary have chosen photos from which nothing can be done. There is nothing in them to indicate light and shadow. Mediocre source material always results in a less than mediorce painting.

Michelle, your double light sources cancel each other. The way to do it is to use a cool natural light and a warm incandescent. One for a strong rim light, the other as a gentle fill. There must be a band of shadow between them, or the form is destroyed. Richard Jack R.A. did some powerful work this way. If you can find something by him it is worth the trouble.

Personally, I do not believe there is anything of value to be learned from working from photography, but if one must work from those with one light source in which the shadows are not too blackened and the lights are not too washed out.

I suggest you get good old master reproduction and make careful copies. This may give you some idea about how to light models and help you to be more discriminating in your choice of swipe.

In the future, if it is possible, post the swipe next the image of the painting so that the painters on this forum will be able to give you better criticisms.

Renee Brown · 07-27-2001, 12:52 PM

Paul, Thank you for your critique. Yes, I am now committed to bringing up the level of my portraits. In fact, in addition to buying and using professional lighting and photo equipment, I am going to start three or four sittings with the client. I had live model class every week for seven years in the Long Island Art League with an excellent PSA instructor, so I am used to and enjoy painting from life. I will use the photos as reference and make sure the quality and the lighting is correct. I am inspired by the excellence of work on this website and thank you all for commenting.

Renee

Paul DeLorenzo · 07-27-2001, 03:26 PM

Dear Renee,

http://www.480bc.com/benr/photos.htm

Look over this over. Study the sight size demo.

Hope it helps,
Paul

Paul DeLorenzo · 07-27-2001, 03:40 PM

"Swipe" is flat copy reference material: photos.

Michele Rushworth · 07-31-2001, 03:21 PM

Renee, you mentioned two points that got my attention and prompted questions. Can you tell me more about these "monthly rotating portrait shows" you do to promote your work? Where do you hold these shows?

Also, you mentioned you use a digital camera. I am thinking of buying one. What model do you use? I am interested in something that would provide high enough resolution to give me a photographic quality 8x10 and one with a big enough view screen that I can tell on the spot whether the photos I've taken at a shoot will be good enough to use. I don't like waiting for film to be processed only to find out that the subject's eyes were too squinty to produce a good portrait and that I then have to schedule a re-shoot!

Thank you!