Redacted Kimmy

[John Zeissig]

Hi, Chris,

I didn

[John Zeissig]

I think Tim's suggestion on warming the shadow on the far side of the nose is a net improvement. My under-chin reflection looks too heavy-handed. Also put a dab under the nose. Now the areas Chris mentioned really need attention, as do the arms etc. Oh well.

[John Zeissig]

Here's the latest version of Kimmy. This seems to be as far as I can get for purposes of online critique with respect to skin tones. I'm at the limits of my available technology. I've warmed up the areas that Chris suggested. I also added cool reflections on the upward facing surfaces in the shadow on the face and the near shoulder. Only the reflection on the shoulder is apparent in this scan. I've spent more time digitally manipulating this thing than I have actually painting it, but I can't get the more subtle highlights on the face to really show without throwing everything else off. The detail that follows gives a better idea of the changes in response to Tim and Chris' suggestions.

[John Zeissig]

I think the changes suggested lead to a more lifelike appearance. Also the "pure color" reflection under the chin and nose, taken from Karin Wells' demo, are helpful. The reflection under the chin results in a "lost and found" edge situation where the transmitted light through the hair emerges from behind the chin. This breaks up what I thought was too harsh a transition in previous versions. I may not have carried the warming of the shadows far enough. One thing that bothers me is that brush strokes are not easy to see, even at this magnification, making the sketch look constipated rather than painterly. Is "constipainting" a legitimate term?

[John Zeissig]

This is just an overview of the development since the first post.

[John Zeissig]

This is a three value (four really, given the section at the back of the hair) version that makes it easier to see the (defective in my view) composition. I think there needs to be more background to our left, and it won't do to just cut off some on our right. This has been a good lesson for me and I'd like to revisit this pose/concept some time in the future.

[Chris Saper]

Hi, John,

Please forgive me for not being more clear before. The diagram below shows the areas of cold whose temperatures need to change. Where living skin meets living skin, areas are dark, but warm. You won't be able to see this in photos.

[John Zeissig]

Hi Chris et al.,

I made corrections by warming up the shadows indicated by the arrows. It should have been obvious to me from the prior detail, but I guess sometimes you just have to put it in baby talk. It may not show on screen, but warming the shadows in those areas makes a definite improvement in the painting. I plan to do a full-figure painting from life using this model in a similar pose, and these lessons will really be crucial. I want to thank you all for your amazing generosity in taking the time to help me with this sketch and other work I have posted. I have friends here who do figurative painting, but they are not able to do critiques in the kind of depth and specifity that is available on this forum.

[John Zeissig]

Changes

[Jeanine Jackson]

May I simply say this has turned out beautifully?

I look forward to seeing the full figure.