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Steven,
Your observations are very greatly appreciated. Especially so since I read from your profile you are an Atelier. This is something I had not been aware of coming from a commercial illustration course at Art College, and not fine art. If you can point me to any resources regarding this it would be appreciated. (I had a look at the profiles of the regular posters). I'm very curious as to the fundamentals and the philosophy of an Atelier. I read about the LARA (London Academy of Representational Art) from this Forum and will be making enquires in the near future.
Unfortunately I didn't make the point of the schematic clear. I'll try to bear this in mind for future postings. In this I was trying to demonstrate how I felt the painting was flowing, and exaggerating perspective. Plus there are no objects in the background in relation to Kristy to correct this view. I am comfortable with perspective ,and studied Technical Illustration at college for two years. We had perspective beaten into us. If I draw the lines exact through the eyes and mouth, as you so rightly state, the drop off isn't as pronounced. Right or wrong, I wanted to show how I "felt" the painting flowed from Kirsty looking out and drawing the eye back round. Because the painting/composition was not thought out from concept I am trying to realize the painting after the event. This was to try and demonstrate what I was trying to achieve (it was late).
The original picture was taken next to a north facing patio door (coincidence). The subsequent printed image had high contrast (esp. in the hair) and I didn
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