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  1. #1
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    Meilin - color & light 1.1

    This is what I managed to crank out after several epic failures. I've managed to push it this far by myself but any additional thoughts and comments are greatly appreciated.
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  3. #2
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    It seem like a pretty solid starting point. A dark one, like mine! Love your expression. There's a lot of personality in it. You look a little mischievous. I'm wondering if there were brighter highlights in real life? The structure overall is great, but I think maybe the lips are looking a little flat and the nostril "hole" could be defined a bit more. I'd say go back and do another session of observation.

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  5. #3
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    please take a look at the portraits of rembrandt. once you do, pay close attention to the value range used. then look back at yourself in the mirror and notice the value ranges there. working from dark to light, as you are, is a great way to work but right now your light shapes..the mass light and highlights are a bit dark...a full value step or two dark...be very honest about the values you see from life. the truth to them is there. your mind will have you choosing other values than the ones you see so watch for that. this is a great start though. keep it up.

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  7. #4
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    Thank you, both of you. I'm gonna see if i can recreate this setup and fix this painting or if I'm better off starting over again.

  8. #5
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    So this is more like 4 painting sessions later... I changed the lightning condition a little bit, the light source is a bit stronger here than in the original.

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    Last edited by Meilin; April 21st, 2014 at 03:52 PM. Reason: ... was missing an ear.

  9. #6
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    looking tons better!

    I think what you should look for now is some variation; find some places to use sharp angles, bigger contrasts, etc.
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  11. #7
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    It feels like you are emerging from the darkness. Seems like one more pass and you will be there. watch for very sharp edged shapes on values on the face, there are usually some transitions that soften steps between values. At this point I would suggest finding the lightest light and darkest dark and then noting those in perfectly. From there double check all your values against those two...keeping in mind where middle is. Keep up the great work. This is very good progress.


    jm

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  13. #8
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    # ashes: thanks,I had trouble finding areas to play up the angles without losing the likeness. But I tried to bump the contrast in some areas.
    # jason: thank you, the advice made a lot of sense.

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  14. #9
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    wish I had a photo to compare this with now.. I feel the chin might be a bit off to a side and something about the dip in the eyes... like I said, really do need a photo now...
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  16. #10
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    you are right about the crooked ching, i thing it's the shadow above the chin creating the illusion, cause i trippled check the outline. Will give it another go and see if I can fix it.
    However I'm not sure what dip in the eye that is bothering you.. is it the weird light shape temporal to the eye, or the curvature of the lower eyelid that is bothering you? I would like to double check it but I have a hard time getting any good picture of my face since the low lighting setting is messing up the pictures.

  17. #11
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    its the part between eyebrow and upper eyelash. its supposed to be dipping in but feels bulging out. well, that can be true on the outside angle, but the inner angle should be concave.. right?
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  18. #12
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    Thanks now i understand what you were referring to. My skin above the eyelid actually starts bulging almost directly from the nasal root. Think it has something to do with being born with an epicanthus fold. I adjusted it a little bit to make it more true to life in the latest version. I also made some minor changes to the value range among other things.

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  19. #13
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    I am wondering if your overall skin value in your light is still a bit dark...it would suggest a darker complexion or at least more of an olive complexion given the values you are using...you are much closer though. some edge variation on the back of the hair might help the space read too as it is fairly crisp now. some softness can suggest the feel of hair. check out how rembrandt or bouguereau handles hair along the edges...velasquez too.

    keep up the great work.


    jm

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  21. #14
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    thanks, I wish I had a olive complexion
    Tried to capture the paleness that's there in real life. I hope I'm closer now.

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    noticed a few things after the upload that i wasn't satisfied with..so here it is after the adjustments
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  23. #16
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    hey Meilin; that's a very pretty portrait. but I still feel it could have a bit more statement in the shape definition. you leave a lot to the imagination; not necessarily a bad thing, but it does leave unused opportunities; like the far eye.
    well, I haven't seen you obviously, so I'm just guessing here, but there should be some height plain differences in eyelid and eye surface.
    ah, if you dont understand what I mean, I mean try stuff like this:

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  25. #17
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    much better. It would be a good thing for you to look at half dozen sargent portraits to see which direction he is using brushstrokes on the head. Your strokes could follow the form a little bit. Secondly, I think selecting the neck area or areas that seem a little bit spotty, and maybe run a soften/blur on them a bit. Your value gradations could be a little more subtle.

    With that said you have made great progress and I think the next is going to be another big step. Keep up the great work.

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  27. #18
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    Thanks jason, I tried looking into the pictures you recommended. Even though it helped a lot I'm still confused about some things... in many portraits the brushstrokes of the cheekbones goes perpendicular to the fullest part of the cheekbone (like i tried to imitate), but on others the allow the brushstroke to follow the shape of the shadow along the cheekbone (like in my previous attempt). What I can notice is that the effect when you follow the shadow shape you get a faster valuechange, thus making it look more square in shape. Is this about right? Are there other pros with using this kind of brushstroke direction that I'm not getting?

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  28. #19
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    I'm feeling a bit silly for updating this thread again, but I was simply to unhappy with how the right eye was looking. So here it is, a minor update
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    don't feel silly at all. Richard Schmid is one of the greatest painters alive and he says the difference between those who are great and those who are not, is that those who are great never knowingly leave something wrong with a painting...even if it means fixing it a year later.

    the values around the mouth seem a little soft. A couple of darker accents may help, and perhaps a little more light in the mass light to highlight range would bring out some form and make the image pop.

    I hope you keep doing these...you have improved this one a lot and honestly even though it happens over longer periods of time it is improving and that is a good thing. Next time you will see those kinds of things faster, but the thing that matters is your willingness to get back in there and resolve things you see better now.

    Keep up the good work.


    jm

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  31. #21
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    Thank you. I will try to get back to it to fix the last things you've mentioned. But I need to wait for a couple of weeks until I can get back to it. We are too close to the summer solictise right now, so it never gets dark enough for me to recreate the lightning senario. Can I continue with color and light 1.2 in the mean time?

  32. #22
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    Yes sure...keep on going!

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