Makeshift Photo Studio

[Mischa Milosevic]

Pat, as far as I know the classical approach is to have the light on the left. Still, if it works as well or better the other way than why not. When photographing someone than you look for that moment when the light and the shadow are just right. For graphite and charcoal the half-tons play a important part for they hold a lot of detail. Than again it all depends what you wish to detail and what not. If you decide to use the Bargue method than I suggest that you get your outline and shadows correct before starting the half-tons and details. Tape your paper and reference photo side by side. Draw the portrait using a plumb line and the sight-size method. This will train your eye for live sittings. If in doubt about something feel free to ask.

Sincere wishes,
mischa

[Ilaria Rosselli Del Turco]

Patricia, I also would go for one or three, mind the finger drawing though, it's sweet in a photo but I am not sure is good body language for a portrait (just my opinion).
I just wanted to add some suggestion for meeting the parents.
If you have time just bring along a sketch of the photo, and show several pics indicating the one you chose as your main source of inspiration.
This is a way to avoid them asking for the photo as a final likeness check, a very humiliating procedure that has happened to me once.
I know better now!
Good luck, I am sure with such a reference and your skills you will produce a very good work.
Ilaria

[Richard Monro]

Number one is my pick, even thought the light reads from right to left. Sometimes breaking convention is ok. So many portraits of the masters were reading light from left to right because they were right handed and didn't want shadows falling on their canvas which would occur if the setting were reversed.

The hands won't be a problem if you just do a head and shoulders.
Crop the pictures before you show them to the client or they will want more of the figure represented.

[Janet Kimantas]

Patricia, these are all very sweet photos, but I will defer to my betters here and agree that one and three appear to be best (of a very good lot). I am sure that you will do a fantastic job, too. This one seems to be right up your alley.
Best, Janet

[Patricia Joyce]

Mischa - The procedure you described is pretty much the approach I have taken with my most recent portraits.

Ilaria, Richard, Janet - I am meeting with the clients tonight and do not have time for a sketch, though it is a great idea, one I will try to do when I have more time. The turnaround for this commission has to be fairly swift as I am moving the end of April and would love to nail down a commission for their two teenage sons!

I am going for a head and shoulder with this and am planning a very short/simple dissertation on the beauty of a photo (Clevelanders are only used to photos, remember) vs. absolute beauty of an intimate portrait sans background noise and anything else which would take your eyes off of her sweet face. In a photo the hand gesture and the little stuffed animal are sentimental and cutesy. My intent and style is to create a work of art which captures the beauty of her face and the softness of her personality. She doesn't need props! She is a quietly enchanting little girl in person, I can't wait to capture that in a drawing! I'm not so nervous when I think of the vision I have and how I will convey this.

The whole photo process was very gratifying. I found it a challenge and fun, engaging with her and just shooting pictures galore without her barely noticing! Plus, so much information about her personality and body language, how she interracted with me and her father will be inspiration as I draw her. I think this will result in a better portrait than when drawing from a photo sent from New York or Ct of a person I have not met...

[Janel Maples]

My first choice is number one, second is number three.

I like the relaxed feeling from number one.

Good luck Pat. I can't wait to see the final product when you are finished. Keep us informed.

Also, I haven't commented on your move but good luck with that as well. I was very tempted to say something about your "Three times is a charm" comment but I won't go there (inside joke for you and me, wink!) Anyway my thoughts and best wishes are with you. With your personality and spirit you will do well anywhere.

[Chris Saper]

Go for number 1. Put out the sample based on what you want to be hired to paint next. You'll do a beautiful job.

[Patricia Joyce]

Originally Posted by Janel Maples

Also, I haven't commented on your move but good luck with that as well. I was very tempted to say something about your "Three times is a charm" comment but I won't go there (inside joke for you and me, wink!) Anyway my thoughts and best wishes are with you. With your personality and spirit you will do well anywhere.

Janel, you encouraging words mean a lot to me. Third, fourth, fifth, one of them is a charm (ha ha ) The closer moving day gets the more excited I am and the more confidant I feel that this is exactly what I want to do right now with my life. Change is scary, but courage is life-affirming!!

Well, I may regret showing the client all of these pics. They chose Number 2 because they love her eyes (who doesn't) and want her looking directly at the viewer. I can't say I don't agree with their reasoning and it will be a lovely portrait (I have several reference shots in this position, some with her hair more fluid and less Helmet like!). But I may just have to paint #1 or #3 this summer because I love the pose and her face is so tender. I told them that and they said they might be interested in buying a painting of her also! We'll see!

Chris, I felt it necessary to show them several choices. Do you show them what you will be using as a reference and not give them a choice? Need to rethink this before the next commission!