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Too much advice?
Hi Lisa, it's nice to see you posting again!
I'm not sure you want any more advice, since everything has been covered so well, but here's my two cents.
First, about the "rendering" problem: I had (have?) a rendering problem, too. This sounds very familiar to me. Not that our styles are the same, it's just that I started out drawing every little detail. I was fascinated by detail. My high school art teacher and the artists I knew would tell me, "you don't have to draw every wrinkle," and I would think, "Why not?" I couldn't see at that age why it might be better not to. I didn't start to turn this problem into an asset until I realized what it really meant to choose and to make decisions artistically. Then I saw what a long road lay ahead of me and how much I had to learn.
Sorry, I didn't mean to tell you my life story. I know you are already a long way up that road already, or you wouldn't be turning out such beautiful work (and, yes, Lisa, there have been some transcendent pieces, I'm sure you know which ones they are, and you will do more!) I'm hearing that you are aware of an issue that is, in itself, both a great talent and a handicap.
If we look at the work of the artists we admire, there are certain ones whose work makes us think "I wish I could paint like that!" Not like wishing we were someone else, but wishing we were more developed versions of ourselves. In other words, our goals have to be consistent with our own styles and our own directions somehow.
So it's all about loving and appreciating your ability to render, and at the same time asking yourself what you want to do with it, what decisions are you going to make for your long-term artistic growth, given this ability. Whenever I reach a point of frustration I look at paintings I admire as something to work towards, and I try to paint from life or switch from portraits to landscapes, or draw. It helps not to perseverate, because then you just get into a rut.
Now, back to the portrait. I know you've shaved a few years off her appearance already, but my eye is drawn to the wrinkles above her upper lip and on our right side of her mouth (smile lines). The important thing to do is think how you can simplify these areas without taking away her essential characteristics. She will thank you for it, believe me. You may need two major smile lines rather than three or four. You may be able to eliminate the puckers above her lip completely.
The background: I think Michele's advice is great. I'm just reacting to this particular portrait. To me the color of the background competes with her skin, so I would vote for a darker, more neutral tone.
The fading at the bottom: I agree that if you can't loosen up towards the bottom, then render. The misty fade tells me you are not in control unless you are tight. The fully finished edge will tell me you have made a decision that you are in control of.
Gosh, that was much more than two cents!
Alex
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