11-19-2021, 12:30 PM
I think Rotten makes a good point, because she is holding the scales up close to her eye level, as if balancing them, so for that action to completely make sense she would have to be looking down a bit more.
On this one i also feel like there's a similar thing happening with the values, where with the addition of effects and extra light sources, the values of different things end up getting closer together. In this case the cloak with the candlelight on it. adding another colored light source usually looks cool, but in this case the light on there brings what would have been a dark shadows of the cloak, up to basically the same general value area as the background. And I would think if a rimlight is added, it's to make something read stronger not weaker.
If going for a classical look, consider doing some notan studies for the painting. Old paintings are almost composed with a simple value scheme, and it is very planned out to get maximum read. The paintings might be extremely complex, but the value scheme is typically simple, with three main values which can be grouped together. Modern paintings tend to have more complicated lighting scenarios, but they still operate on the same basic prinicple of dark mass against light mass, or vice versa.
So for example, if posterizing your painting so far, what you have would be on the left, and a more classic way to approach the same thing would be on the right (simplified).
On this one i also feel like there's a similar thing happening with the values, where with the addition of effects and extra light sources, the values of different things end up getting closer together. In this case the cloak with the candlelight on it. adding another colored light source usually looks cool, but in this case the light on there brings what would have been a dark shadows of the cloak, up to basically the same general value area as the background. And I would think if a rimlight is added, it's to make something read stronger not weaker.
If going for a classical look, consider doing some notan studies for the painting. Old paintings are almost composed with a simple value scheme, and it is very planned out to get maximum read. The paintings might be extremely complex, but the value scheme is typically simple, with three main values which can be grouped together. Modern paintings tend to have more complicated lighting scenarios, but they still operate on the same basic prinicple of dark mass against light mass, or vice versa.
So for example, if posterizing your painting so far, what you have would be on the left, and a more classic way to approach the same thing would be on the right (simplified).