Oh, thank you for this, Steven! This is the kind of commentary I have been trying everywhere to get. In other artist forums, no one has picked up these details, and as I considered your suggestions, it felt like you had the reference photo in your hands. I am delighted to draw on your experience.
I took the reference photos by bouncing flash from the ceiling. I now see that a better flash setup, perhaps with an umbrella, is a worthwhile investment to get those shape-defining shadows.
The backdrop - it doesn't look dark and stormy on the painting. The stormy look is the result of stitching 8 scans and trying to fix the edges of them. It is a smooth gradation of color starting with (I thought) warm yellow > red > purple > blue-black. It is meant to be the tail-end of a sunset with warm colors meant to offset the cooler shades of the forground. Judging from your comments about it, the attempt is less than successful. That too is something I needed to know.
I can see where the use of warmer red or pink would have been better. But I think that is beyond fixing in this painting. I did try, with limited success, to pick up some of those colors on the edges on our left of the girl and her clothing.
Your suggestions about the eye sockets are also right on, and give me the clues I need to make notable improvements, even at this late stage. Hopefully my skills are up to the task.
Thank you again for taking the time to write such a helpful critique.
__________________
Will Enns
|
Hybrid Mode
