Taking what Jason said on my last composition pieces, I thought I'd better improve my values somehow. Mainly F pencil on cartridge paper. I'm at a slight disadvantage as Jason has met me, so he knows what I look like - no taking years off then.
Nose isn't quite right - I don't like my nose, which may have some bearing on it.
Well I got some feedback from JasonAs I have overworked the above and had started on another, I tried to take heed. Frizzy hair was let down for this - I did start it after a bottle of wine.You are working your lights and shadows back and forth so your eyes are adjusting and you are seeing more values in your shadows than exist if you let your eyes relax on the light side. You can choose to let your eyes relax and see into the shadows but work from peripheral when drawing the light values as your pupils will dilate. watch the half tone transitions between light and shadow on the chin and neck too!! Love seeing you making art. more more more
this is really good progress and has beautiful atmosphere. At this stage you now rest your eyes on the focal area of your choice and render in some of the sharp details so that the piece comes into focus. Also going around and lifting out any spotty marks or filling in any spotty marks (if in the darks) would help bring it together. Great job so far.
Damn. It was on such cheap paper, that I can't lift marks up easily, so I started again on better stuff - even 4B is now coming off. Sorry. Also I couldn't get the lighting just right - bah! Taking a photo of my set up so I can go back this time a lot easier.
Then I screwed that one up. L'sigh. On better paper now so I can work on it more. About actual size.
i would like to see more value range in even your quicker studies. If you want to spend a long period on them working out all the middle values will lead to a well modeled form and atmospheric portrait that is believable, but more contrast is needed, even if in little bits. I spent some time with this changing the value range around, and might suggest you do the same til you find the range and key you wish to have for the final image. Just used levels to do it...but will give you something to shoot for if you take it in photoshop at this point and play with values. I actually erased off a more contrasting version to push the feeling of light...but you will need to choose what key your final should be in, and go from there I think.
The expression is nice in this..and headed down the right path. Without that it wouldn't matter..so kudos there...the life behind the eyes...whatever mood is chosen... is always the part to keep in there as you go.
and expression wise...the closest eye is the one that needs love in the mood area. the farther one has good expression in there forming.
Unless these studies are going to get the time to push to final, I would suggest doing a bit more vignetting so that you are not just left with a face on a page with no hair, no collar and just neck.
Compose some as you go. Check out Fechin's portraits or Sargent's. richard Schmid is particularly good at it, as is Justin Sweet. Attachment 2044925 They will vignette compose when time is short. This isn't a great example here, but at I think that it suggests that if you work in a manner that is composing as you go they can feel like more finished studies or the like, even when they are not.