My source for practice

[John Reidy]

Lisa, very nice indeed. Your style does not get in the way of executing a beautiful painting.

We are all learning (especially me) and you have contributed to my education with this posting.

[Garth Herrick]

Pure poetry, Lisa, I love it!

I love the way the arms pick up the undulations of the grassy hills, and the vertical dress pleats work with the bannisters.

Beautiful, delightful, and very well drafted!

Garth

[Lisa Ober]

Michele, thanks for looking. Yes, it's important to always strive to learn but I think I lost some of that over the years as it relates to my work. Back and running, I hope someday to paint a portrait that makes people pass out.

John, thank you for the kind words. I do feel like sometimes the tightness of detail tends to overwhelm the subject. I am learning too. I hope I can strike a balance between detail and the implication of it. By the way, that painting of your dad was beautiful and nostalgic and I think he was very handsome.

Garth, thank you! I should frame your response to daily remind me of what I want to acheive. I want to be you. Okay, maybe not you in every sense but still, very much like you. You have struck what I mentioned above. You have the perfect balance of detail with the implication of it. Your paintings have inspired me. Thank you for noticing the small elements that help (though they might not be enough) to tie the thing together. Now I have to figure out how to really punch it up and make jaws drop.

Thanks to you all for taking the time to comment.

[Garth Herrick]

Dear Lisa,

I thought this was already punched up. Anyway my jaw has already dropped! Good work.

Garth

[Rob Sullivan]

Good gravy, you've been practicing a bunch!

This isn't the easiest lighting setup, yet you have handled it with great skill. A lovely portrayal of a lovely little girl; surely something to treasure.

Ampersand gessoboard, huh? Did you hit it up with additional coats of gesso? The reason I ask is that not a few of my students have brought it to class, and during the underpainting stage (Gamsol & raw umber block-in), the board sucked up the Gamsol like a thirsty dog. Wiping out highlights proved impossible; the pigment had become imbedded into the porous surface. Any problems of this sort?

[Linda Brandon]

Hi Lisa,

This is beautifully exectued and I've held off posting until I could remember whose style your work reminds me of: Duffy Sheridan . I really admire your detail and control here in this charming painting.

[Chris Saper]

Lisa,

This is just a lovely painting! I look at your daughter, and I know just how her skin would feel with the warmth of the sunshine.

Welcome, and I look forward to your participation here!

[Lisa Ober]

Originally Posted by Linda Brandon

Hi Lisa,

This is beautifully exectued and I've held off posting until I could remember whose style your work reminds me of: Duffy Sheridan . I really admire your detail and control here in this charming painting.

Hello Linda!

It's so nice to meet you. That's quite a compliment to me that I don't really yet deserve but it sure makes my day. Thank you for taking the time to respond with the flattering comparison.

[Lisa Ober]

Originally Posted by Rob Sullivan

This isn't the easiest lighting setup, yet you have handled it with great skill.

Ampersand gessoboard, huh? Did you hit it up with additional coats of gesso? The reason I ask is that not a few of my students have brought it to class, and during the underpainting stage (Gamsol & raw umber block-in), the board sucked up the Gamsol like a thirsty dog. Wiping out highlights proved impossible; the pigment had become imbedded into the porous surface. Any problems of this sort?

Hi Rob! Thank you so much! With regard to the lighting, yes, it was tough. I didn't realize how much my white house would reflect on the "shadowed" side of the face. It was so bright! I tried to make sure those light areas were at least cooler. I hope it came across.

As far as the Ampersand board goes, you will probably think I am crazy but the reason I love it is because it does absorb the initial wash I throw down before I just paint away. I agree that if you are rubbing out highlights you will hit a brick wall. I switched away from canvas because I don't like the initial washy sketch I do to drool down the page which also happens with other gessoed boards. I guess it's just a matter of personal preference but I can see how it might be irritating if you rub out highlights.

Thank you for responding.

[Lisa Ober]

Originally Posted by Garth Herrick

Dear Lisa,

I thought this was already punched up. Anyway my jaw has already dropped! Good work.

Garth

Pick up that jaw, Garth! The dirty floor is no place for a wonderful painter's jaw like yours.

(thank you)