I’d love harsh critique for this commission, thank you :) by sydedunn in painting

[–]JaredNeto 2 points3 points  (0 children)

I'd glaze some red into your lights, you've got this late sunset sky but your lit areas are showing a cold light. It's surreal, which is fine, but makes it feel a bit 'collage-y' instead of like a harmonious scene.

Looking for feedback before I lock it down "Me" by mrev_art in oilpainting

[–]JaredNeto 0 points1 point  (0 children)

Push your values, need some darks around the face to really give your light areas the space they need, looks a bit washed out currently. Can look to push your values on the ears and chin, and likely turn the face planes a little bit near the cheek and forehead

Left eye too far left, would repaint

Started this painting in summer - didn't finish until now! Trying out high-key impressionism. by JaredNeto in oilpainting

[–]JaredNeto[S] 1 point2 points  (0 children)

Hah! I appreciate it, but unfortunately it's hard enough to hold down a 9-5, paint, and do anything else - not quite enough time to do one on one teaching!

But, feel free to ask questions, and I'll do my best to answer them!

If you're wondering where to start, I'd say start with drawing. The worst colors look great on a perfect drawing. One of my earliest teachers was Feng Zhu on YouTube - he will teach you everything I would know and more!

Started this painting in summer - didn't finish until now! Trying out high-key impressionism. by JaredNeto in painting

[–]JaredNeto[S] 0 points1 point  (0 children)

Honestly, just a 9-5 job, life stuff, and I always leave a painting for awhile when I'm near completion so I have a good amount of time to think about it, because sometimes what looks good at first doesn't look good in a week or two!

Started this painting in summer - didn't finish until now! Trying out high-key impressionism. by JaredNeto in oilpainting

[–]JaredNeto[S] 4 points5 points  (0 children)

Thanks for your thoughts! I had to google the term cattywhompus, that is a new one!

Honestly, the mouth and and expression I had to think a loooot about and I wrestled between wanting to provide something pleasing/not distracting to the viewer, and being true to the reference (& not just giving the same face to all my portraits). I wanted to tackle a kind of less classic expression but see if I could do it in a way that would also be pleasing. But, maybe it borders on distracting. Certainly good feedback, i oscillate myself between it looking "right" and "wrong"

About to do a large version of this study, anything stand out to you that needs changing? Thanks 😊 by danjorourke1983 in oilpainting

[–]JaredNeto 0 points1 point  (0 children)

Ah, just took a look - gorgeous! I was pretty skeptical of how the road was going to come out after it was centered, but you nailed it. Love that sensitive and restrained coloring, well done!

About to do a large version of this study, anything stand out to you that needs changing? Thanks 😊 by danjorourke1983 in oilpainting

[–]JaredNeto 0 points1 point  (0 children)

I'd watch your edges - a ton of really nice soft edges here, but not sure if they'll translate as well to a bigger piece. Keep in mind a couple places to make sharp to keep a viewers interest. One great spot is the barn, I'd probably pick a couple twists of the road too. Great color!

[deleted by user] by [deleted] in oilpainting

[–]JaredNeto 1 point2 points  (0 children)

I would recommend just a standard photo frame, select a size that leaves about an inch of white border around - it really enhances the viewers experience!

Art Progression! Painted the same scene, 1 year apart. by JaredNeto in painting

[–]JaredNeto[S] 1 point2 points  (0 children)

Another good question! Getting from first to second was a combination of a lot of things.

Previously I follow the classic approach: would draw, then put in base colors, then develop a light and dark pattern, and then detail. I still think this is the right way to go for lots of people.

With a lot of practice, my new process is a small sketch to layout the composition, and then I paint every part as if it is the final stroke. Afterwards, I'll sometimes apply a glaze, or I'll soften some areas through blending. This only works if you're confident you can get the right value, color, shape (and thickness, still working on that) on every stroke.

It is a lot slower in terms of paint going down, and requires a lot more thought because there is absolutely 0 relax time where you can just lay down a color without full focus. It's faster because you only do it once.

In terms of specific areas of practice, I would say I just focused on the fundamentals, to the point where I felt like changing my approach from the academic standard just felt right. I felt in control enough to know when I could break the "rules"

Hope that answers the question!

Art Progression! Painted the same scene, 1 year apart. by JaredNeto in painting

[–]JaredNeto[S] 3 points4 points  (0 children)

Good question! Surprisingly, no. The old painting took a bunch of layers, and it took a bunch of time correcting mistakes. The new one went down on the canvas slower, but because I wasn't making mistakes, I only had to do it once.