Thanks Linda, you are right I should have drawn the boundaries instead of just keeping them in my head.
I will go measure the forehead, perhaps it's my shading, because I thought I was careful to get it right, but I might have brought the "whispies" down to far.
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Your portrait here looks a little cold to me. I would try a little Daveys Gray (W&N) in the shadows, and a little pale Raw Sienna in the light parts of the skin to warm it up. Just try a little bit and see if it works at all. Another good color might be a very pale burnt umber (W&N) rather that that purplish red that I see. A little bit of that is OK, but it's quite cold and strong.
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Here I get back to the discussion I was having with Mai, the temperature color rule gets me. If this girl is bathed in cool light thus should have warm shadows (I cheated with the violet above her eyes for color scheme purposes), if I add warmer color to her "local" color, does that screw everything up? Or did I see it wrong all together. Sometimes I try so hard to focus on the technical aspects I am trying to learn I worry I am forsaking any creativity. Did the Masters see all this stuff and teach it to their students, or did we evolve to this science of color through more modern ways? I know it makes sense, cause I see how complete portraits are that apply these rules, perhaps I should look at some that don't...any suggestions?
Linda - I am such a