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Wow, your work is amazing! They have a fantasy feel to them… maybe due to the lighting. I love it. Very impressive!
Good points there Zhi Su. The orange breast is intentional I might say, it plays with the blues and violets I used also. As for the other orange-red patch, so and so, its intentional but is too strong, I noticed it also in the photo because the camera made it even more intense, I’ll have to reconsider my red patches I guess. Thank you for pointing these things for me out! I went to the studio checked that red patch itself and it gave me an idea of how to get better photographs. I think I managed it, better at any rate. You guys have deserved better, now I’ll upload what are hopefully better photos. I don’t know if to delete the old ones, if these are better, and if, yes, if I can, and how. We’ll see.
Thank you for your encouraging remarks, I’m so happy you found something there!
A tip for photographing, what I did—-hope someone else can benefit from this : I brushed thinner on the painting to bring the sunken in surface back to life, then I placed the lights on the sides of the paintings, so that they skim the surface, rake on it, like the sun at the horizon, this apparently minimised the reflected light, and thus the glare.
lets see how the photos load up.
Again only one at a time 😢
Hi Ramona 🙂 you’ve shared quite a few paintings here, I’m sure you have plenty more, which means you’re prolific painter. That is essential in becoming a great painter, so keep it up! Is your artistic pursuit focused on the figure, or are you exploring it now and seeing where it goes? I’ve recently started my first more fuller lengthed figure painting – gosh it is testing me! I found the idea very intimidating but I just went for it and I’m happy that I’m taking on this challenge for myself 🙂 I set myself to paint a more simple pose to help with this 😂
I can see you’re a colourist. I am too. Since that is what seems to be your focus of your paintings, I would say it could be good to play around and push further with the variations of the chroma/saturation levels across your image. I like what I was taught by Bill Perkins in this Colour Bootcamp course. Have different saturation levels in distinct areas – background, clothing, figure or face, hair. Make them clear and distinct. I found this helped to tell more of a story with your image and add more interest, way to direct the viewers eye to different broad areas. If you want to highlight the colour temperature changes in the figure, do less so in comparision in the other areas to help highlight this. If you haven’t done Perkin’s Colour course, I HIGHLY recommend it!
I think you’d benefit from working on your composition too.
Overall I really enjoy the pieces you shared here. There are some powerful pieces. You can see your tendency towards a liberated voice. I need to push myself to be braver and let go more. But I’m still in my early stages, so for me at the moment it’s about learning the craft, and letting my artistic voice emerge going through the process.
I believe you’re aware but for archival purposes:
One of your paintings was critiqued by @joshuajacobo:
Yes, Joshua, I thank you. Oh, that was so amazing, showed it to my family too, without their understanding and patience I could not do it. You are completely right what the difficulties with the symmetry is concerned, it’s been my main problem with the piece, and every time I set it a bit right, I ‘destabilise’ it a bit again in the next painting session. I’ve got quite a bit into the depths of the theme, observing my patterns, reading about the psychology of perception and how it’s been used in art to depict emotional distress… especially by the German expressionists, or say artists like Kokoshka. I guess it’s my personal struggle and learning path in life to find this balance, and I purposefully avoid relying too much on mechanical devices so as to test my own psyche’s progress on this path. Let’s just say, I noticed an improvement, towards more ‘inner balance’ over the past years, and my head/portrait work is how I judge it. This is a complicated matter to explain in a few words. Now as to the painting, I’m not yet decided on it. In a sense I find my inner soul’s true expression is more important to me that a ‘correct’ painting. On the other hand, if a distortion is to be part of the painting, than it should be beyond a doubt that it’s intentional. Maybe I’m artistically not mature enough to yet pull this latter off. In the end, it’s a philosophical question I need to settle on at some point. I thank you very much for the time and energy you put into reviewing my work! I’m happy that you found it engaging, I so appreciate this. Wish you well.
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