Once again, I had quite a time getting this to photograph as dark as it is in real life. This is pretty close. Also, the paper is telling me that it's time to move on. And so...fini.
 |
| 10"x14" |
And then, since my next painting depends more on color than value, I did some color studies.
This is closer to that first study which really played up the dark. The light on his face comes from the window on the right. Where does the darker part come from because window on left is bright too. I’ll have to look at that first one. Or would I even be asking if I hadn’t seen the first one?
ReplyDeleteWell, he's sitting in one of those Chicago sunroom bumpouts. It's not very deep and the rest of the frontroom is darker; that's the shadowy area on the left—also, he's backlit by the window behind him and sidelit by the window on the right (his left). It made sense to me in the reference photo, but now, I'll have to take another look.
DeleteI love the way this is painted, especially the contrast between the abstract outside and the specific inside—especially that table with the lamp, etc. Dave looks good too, backlit and side lit. Can you turn the corner of his mouth up or straight so he doesn’t look so mean?!
ReplyDeleteColor studies are lovely, but no painting depends on color more than value!
You're right—he does look mean and pouty, doesn't he? That's the shadow under his mustache. The actual mustache is bleached out by the sun and all you see is the shadow, but it reads as his lipline. I fixed it. Thanks!
DeleteI think it’s really good. I had no trouble with the shadows and highlights at all. I thoroughly appreciated the entire composition with all it’s disparit parts.
ReplyDeleteI see that I must have not PUBLISHED my comment of last week. I think everything has fallen into place in this intriguing portrait. I would have preferred a greyer view out the window to emphasize it, make it a mysterious television set but we can't always get what we want.
ReplyDelete