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blindedangel In reply to LFalco [2005-08-08 03:44:49 +0000 UTC]

Hah Your comment on multi-personality syndrom made me laugh.

I just can't settle doing one type of work, so I continually switch between painting and illustration styles. It keeps me happy and not feeling stale.

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blindedangel In reply to City-Builder [2004-11-22 19:11:52 +0000 UTC]

Thank you!
The look in my eyes is that of when I am studying my subject--in this case myself. However, the viewer is in that space instead. It is interesting the reactions I've gotten from that look.

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City-Builder In reply to blindedangel [2004-11-22 19:19:14 +0000 UTC]

It's the look in the painters eye the makes a self portrait alive. It simply immediately caught my attention.

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blindedangel In reply to phil-light [2004-09-02 18:09:56 +0000 UTC]

Thank you for your comment. I would love to hear your thoughts when you've got the time

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phil-light In reply to blindedangel [2004-10-21 16:42:22 +0000 UTC]

What impresses me so much, in addition to the piercing gaze that others have mentioned, is the color harmonies you establish. I adore the way the dominant colors--the flesh/burgundy, white/sky blue, and olive/brownish are each carried through all parts of the composition. Just looking at the brown/green, for example: it's used to frame each of the corners, as well as the top of your head. Likewise, using that light blue to frame your face on both sides is highly effective.

What surprises me is that the solid white space of your shirt doesn't overwhelm the composition... but instead I find that it balances out the browns I mentioned before, making sure the overall effect is not too dark.

Some of the commenters here have mentioned that they feel that your face is too dark; I would personally disagree. I would call the colors on your face "rich", and say that the heightened contrast on your face which comes from the shadows vs. the highlights (especially in the eyes) actually draws my focus to your face, which is beautiful and splendidly modeled. So it's a good thing. It's also consistent in the way you've drawn your hand. The one place where I can see the criticism being valid, perhaps, is in the light-struck skin just under your neck. All of a sudden, there, the skin tones are so solid and so much lighter than the ones on the face, it seems inconsistent. Not compositionally, since it bridges the transition from your face to your shirt, but just in terms of departure from a photograph. "So what," I say, this painting is much more engaging than the same photograph would be.

Having tried this kind of thing myself, I also appreciate the skill which went into representing your fairly subtle expression with so few colors and (evident) brushstrokes, as well as the strong colors I mentioned.

Overall, I would have to say that this is one of the most striking paintings I've seen in the three years or so I've been browsing this site. Now, I don't have nearly the time to browse that I wish I did, so take that compliment with a grain of salt, but I just wanted to give you some idea of how this has struck me. Actually, much of your gallery has, but I don't often get the chance to comment like I'd like to. :/

-PL-

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blindedangel In reply to phil-light [2004-10-21 20:32:05 +0000 UTC]

Thank you for the thoughtful response.
And to respond to a few of the points you made:

I place a lot of importance on color in my work. I am careful to balance the color and include certain colors througout a composition to help create unity and harmony, but also diversity. I am delighted you picked up on that in this piece.

Some of the issues with the color and contrast on the skin come from the fact that I painted this in front of the hallway mirror in my apartment. That harsh, directional light coming in from the right comes into my eye and influences the colors I see. I tend to see reds much more strongly in shadows when light is coming into my eye in that direction. The issue you brought up with the light on the neck is valid, it probably should not be so stark. You mention the transition between the face and the shirt, but that triangle of light also purposefully mirrors the negative space on the upper right. This repetition of shape is also carried between the shape of the canvas in the foreground and the door frame and abstracted posters in the background, also the shape of the pallet echoes the shape of the face. As with the color, in this piece I was establishing a kind of balance and variation between shapes.

In any case, I hope I've provided a bit more insight into my choices in this piece. I am very greateful for your comments and appreciation of my work!

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blindedangel In reply to AViCo [2004-08-06 23:19:49 +0000 UTC]

Thanks!
I agree that the skin is a little too red, the lighting was kind of odd, but I think I exaggerated it too much.

Sorry about the piercing/strict look. That's just the face I make when I'm studying my subject intensely. I've got a lot of comments on that look in this painting, but I feel it is true to the subject.
I don't consider myself cold or unfriendly though

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AViCo In reply to blindedangel [2004-08-06 23:25:51 +0000 UTC]

heh... I understand. I had a look that always shooed my arts teachers away from my table when I was concentrated.
"... Might I suggest that... DON'T LOOK AT ME LIKE THAT - I'm already gone!"

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blindedangel In reply to misnomer27 [2004-08-02 17:58:45 +0000 UTC]

Yes it is, thank you

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blindedangel In reply to AlexMarco [2004-07-15 18:17:21 +0000 UTC]

Hee. Thanks

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blindedangel In reply to pinklock3 [2004-07-15 18:16:58 +0000 UTC]

Thanks! It was an intense self portrait.

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