10-10-2013, 05:37 PM
Nice work. In general the style is a little bit more sylised. Is that what you are going for or are you going for realism?
The hair could probably do with a bit of volume and cast shadows to match it more to the volume of the face.
So first the usual stuff: faces tend to be get more warm and saturated colours at the nose tips, cheeks. Slightly cooler, (towards) blues and green in the jaw area, more so for men. Also remember complementary cooler colours in shadow areas for warm lighting.
In terms of colour, bring in some variety of hue for vibrance. Colour vibrance is when shades of different (often opposing temperature) hues are slapped right next to each other. This is an exerpt from Stapleton Kearns blog, great blog about traditional landscape painting. He's talking about snow but this bit applies because it explains so well the idea of color vibrance. Check out the link for the image.
"He is also making his color "vibrate". This is a form of broken or divisionist color. It is a kind of impressionist method. It is also very "Rockport". The painters from the Rockport school often used the square touch, broken color method of painting.The eye jumps back and forth between the warms and the cools and that gives a feeling of complexity that fools the eye into believing it is seeing nature."
Full post here: Stapleton Kearns post
Couple of examples I thought were good for portraits: The blues in the famous first portrait, if you squint really do suggest veins under the skin and right next to the warmer tones of the skin it looks so real...it's amazing. Notice the greens in the second one.
![[Image: rembrandt-self-portrait.jpg]](http://arthistoryuk.files.wordpress.com/2010/09/rembrandt-self-portrait.jpg)
![[Image: 100_1124.jpg]](http://www.arthistorie.com/100_1124.jpg)
Oh and painting from a photograph will result in a painting of a photograph. Paint from life if you can, I think you'll learn a lot more.
The hair could probably do with a bit of volume and cast shadows to match it more to the volume of the face.
So first the usual stuff: faces tend to be get more warm and saturated colours at the nose tips, cheeks. Slightly cooler, (towards) blues and green in the jaw area, more so for men. Also remember complementary cooler colours in shadow areas for warm lighting.
In terms of colour, bring in some variety of hue for vibrance. Colour vibrance is when shades of different (often opposing temperature) hues are slapped right next to each other. This is an exerpt from Stapleton Kearns blog, great blog about traditional landscape painting. He's talking about snow but this bit applies because it explains so well the idea of color vibrance. Check out the link for the image.
"He is also making his color "vibrate". This is a form of broken or divisionist color. It is a kind of impressionist method. It is also very "Rockport". The painters from the Rockport school often used the square touch, broken color method of painting.The eye jumps back and forth between the warms and the cools and that gives a feeling of complexity that fools the eye into believing it is seeing nature."
Full post here: Stapleton Kearns post
Couple of examples I thought were good for portraits: The blues in the famous first portrait, if you squint really do suggest veins under the skin and right next to the warmer tones of the skin it looks so real...it's amazing. Notice the greens in the second one.
Oh and painting from a photograph will result in a painting of a photograph. Paint from life if you can, I think you'll learn a lot more.