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graemeb — Singular Vision
#painting #girl #hands #portraitgirl #realism
Published: 2015-11-01 01:55:45 +0000 UTC; Views: 2650; Favourites: 87; Downloads: 0
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* ¡Fantástico trabajo! Lo hemos destacado dentro de la carpeta "Featured nº5 o Destacados nº 5" en Special-Groups. (Es la carpeta donde se exhiben los mejores trabajos del grupo).
¡Por favor, queremos ver más trabajos tuyos en el grupo!
* Fantastic work! Featured in Special-Groups in folder Featured nº 5. (Best works of the group).
Please, We want to see more works in the group of you!
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or should I say, Muchas Gracias
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Well done! This portrait is so beautiful. I really love the dramatic use of light and dark!
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Thank you Tara-Lee, it is as much about the hand as the face. It took a while to set up and get the light where I wanted.
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I really adore the skin tone on the hand! The hair is also very lively, and that for me is a huge challenge so I really admire people who got the skills with that.
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Hello Noora from Finland. Yes, hair is a particular problem, you try to avoid painting every single hair but often it seems like you have to. I think one of the reasons I like to paint young women is the beautiful skin tones.
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Love your use of light and darkness here, as well as the details in the tones on the hand, face and hair!
I really like how you have drawn the hand into the foreground by giving it the most light, strengthening how the girl is hiding behind it -- half hidden and half exposed. Even with the dark shadow around her eye (and perhaps because of it), you are really drawn to her gaze back at you, from the shadows.
Nice touch with the bit of light on her hair, which defines the shoulder without actually showing it...
Beautiful piece!!
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Hi Charles, I think you have pretty much summed it up.
I used to think I knew how to paint and then a year or two later I would realize I did not, this happened a lot. Now I am not sure I ever will, you just seem to be able to improve the more you paint, this model has changed my thinking a bit, or at least my view of the subject. We think of contrast when we want the subject to lift off the canvas, but it is not always the case, what's in the dark can be far more transfixing.
Keep sculpting mate.
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hmmm... thinking you used to know how to paint and now not so much? I think I can relate to that too (though in sculpture rather than paint). 
I was looking around a little more in your gallery, and I see that the single eye is a theme you have used several times. In the case of this portrait, the light on the hand does lift it out from the rest of the painting, giving the whole image a lot of depth, but yeah, the REAL focus is on the eye.
Wonderfully done!
(And yes, the sculptures will keep coming as I continue to learn. Thanks! 
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Yes, there will be more in the 'Single Perspective' series, a very big movie star bought one but he won't let me tell the world. Bugger. The last one is the best, I feel I achieved more drama, which is what I feel makes a painting stand out.
The worst thing about this is the photo, I have tried and tried but I think the back lighting of the monitor is the culprit, it just lights up the dark's too much and takes away the subtlety of the eye.
Bloody perfectionists, don't they give you the shits.
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hehe.... yeah, bloody monitors...
Of course, you should try to capture the essence of a sculpture in 3 dimensions, using a 2 dimensional medium.
Well, one way or the other, I think you've still done well communicating both the drama and the subtlety here.
Blessings!
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I do like the portraits with dark backgrounds - this one pulls the viewer into the picture. Another one that should fly off the shelf! 
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Hi Phil, yes I have been studying old skills again, more the Dutch works I guess, no one in particular just the paintings. I have a new model and she is very classical and has inspired me in a different way, a redhead obviously and the flesh tones are so fantastically hard to get, I am beginning to think I like acquiring skill more then the painting itself. How bizarre is that.
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I know what you mean Graeme, in my own limited way. I cannot cope with a live model, the skin tones change too frequently for me, so I always use photo refs.
I think trying out new approaches keeps the whole thing fresh and interesting, although it can be very frustrating until that new skill is perfected to your own satisfaction.
The new model looks good and you have certainly done a great job with those skin tones.
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You have to be adventurous Phil, it's the only way to learn. We constantly make mistakes and then correct them.
If you don't paint from life a bit, you do not learn how to make a photo look like a painting. Keep having a go and keep drawing from life.
I just found out my Painting that was accepted into the Kilgour Art Prize was one of 30 selected from 697 entrys.
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Selection of only 4% must have been difficult from so many, but so far they seem to be getting it right! Let's hope they continue getting it right.
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