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Dedalier,
There are some nice things happening in this portrait. What I might have you look at is the sense of flatness I see in some areas.
Be careful about outlining the figure in a lighter value that the rest of the area. On the shadow side of the face, the reflected light is too light, reflected light should always stay in the same value range as the shadow area, in this case, a middle value. The reflected light can be a lighter middle value, but the value of the reflected light on the subject is the same "lightness" as the lit side of his face. If the reflected light were darker, the face would continue to "round out," but that line pulls the shadow foreword, causing the face to flatten out.
By the same token, the light edge on the neck next to the ear is too light, causing the neck, which should also be "rounding out" to come forward, flattening the neck.
The same thing happens on the edges of the blue shirt. The light blue outline belies your attempts to make the body "round out." You will always have a cool turning edge on a rounded surface. That edge will be darker and cooler than the rest of that surface.
I like your conservation of highlights on the hair, the drawing is well executed, the texture of the beard is very nice. Get those edges nailed, and you have something good going.
I think the shirt might need to be simplified, value-wise and compositionally, so the face takes priority. There appear to be a number of "hot spots" where the value has gotten too light.
I have no problem with the glasses, although Karin's comment about painting the eyes first is very sound. I usually paint the glasses in, and out, and in again a half dozen times during the execution of a portrait.
Hope this helps.
Peggy
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