I'm nearly to the finish line--today should do it. I can taste the champagne. I've got nothing but touch ups left and blending--a tad of toning down. What an experience this has been. I loved it as much as I hated the discipline. The photograph is close to the real painting, but dull by comparison. When I tried to brighten it up, the colors went cheap, tinny, not as rich as they really are. So here it is as the Minolta, the lesser of my digitals, took the photo outside in North light. Before going to work,I like to checkout any flaws the photograph catches that I might not in the studio. There's not too many corrections to be made.
|This is the original photograph. I thought then|
it was beautiful as a photograph, but insufficient
as a reference photo for a portrait.
You may recall I learned about the distortion of the photographic flash as a kid. When my parents had a portrait done of me. The artist worked at first from photographs he took at our house. Then, weeks later, I had to go for a sitting. At that sitting, it turned out my skin was blotchy. He had painted me sunburned splotched with strong white highlights.---similar to how I painted Honey who was blotchy from his sunburn. It took several sittings before he got me right--but he never did put the pink back in my confirmation dress, which he took to his studios when he took the photographs. The pink was beautiful--it was the color of angle hair coral.
POINT OF STORY : SITTINGS ARE ABSOLUTELY NECESSARY IN PORTRAITURE.
I doctored the reference photo I was given darker so the facial features were more defined. I also made a black and white print. Neither of the pictures here are the same coloration as the painting.
|Blotchy, splotchy, sunburned Honey|
It was the truth. I swear.