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xZehna [2015-08-22 22:08:59 +0000 UTC]

It looks so beautiful, amazing job on the lights and contrast c: !!!

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Aquae [2014-05-09 00:37:17 +0000 UTC]

This piece struck me first in your gallery. - Partly because I have a thing for paintings of women and painting women and gorgeous women in general. (Duh, look at my gallery! hehe) I also really like the idea of it. - The red against the black and white is a really neat effect that I always enjoy seeing. That theatre with the film noir styled dramas sounds SOOOO cool! I LOVVEEEE film noir movies!

Anyway, onto the critique! Her torso and arms are veerrryy long, they could be shortened a good bit! Her eye could be bigger as well. - Partly for aesthetic appeal, partly for composition of the piece. Her face in general could use I think more detail. It's important to remember to put the most detail and care to really draw the eye to the focal point of the piece. - Everything else in your piece should be purposefully chosen for its ability to lead the viewer's eye around exactly to the points you want. (Focal point, secondary point, tertiary point, etc.)

The hair could also use some work. - It's very "piece-y", which is really easy to do. What I do when I paint hair to keep it all looking as one is to paint it all as a single mass of shadows and lights first. - Just soft, flowy lighting. aquae.deviantart.com/art/Spoil… <-- There's a link to my current WIP, and it gives a good example of what I'm talking about. I lay down the basic lighting for my hair first, then I may at most pick one or two areas probably around the face to add more detail to, leaving the rest very soft. In that piece I probably wont do too much more to the hair, like I said I'll probably pick one spot to really detail and make more realistic, and leave the rest soft. It's a great way to add interest to hair and trick the viewers' eye into seeing the entire fall of hair as more realistic.

In fact, that'd be a great thing I think you could try in the future. - Picking one or two focal points of a piece and really detailing those, while letting the rest of the painting be much softer. You've done that a little here, like the stuff you've got in the shadows is nice and has very soft edges, and that's great compositionally. - A lot of people never notice or do that at all. They'll just try to make EVERYTHING look as sharp and "realistic" as possible and it creates a flat, boring piece. (I used to do that terribly!) I would have probably softened my window lines more as they got closer to the top edge of the piece, just to make sure the viewers' eye was pulled down *into* the piece toward the girl, which is where I'd have my window edges nice and crisp.

I also think there could be a little more contrast between the lights and shadows on her skin, especially on her face. I think it'd add to the sort of mysterious aura surrounding her.

One more thing: I'm not sure how I feel about the tree limb. I do believe the view out the window needs *something*, without the tree limb I think it'd be very empty and not necessarily in a good way, but something about the random tree limb seems out of place to me. Maybe more tree limbs so that it actually looks like there's a tree out there? Or maybe some sky? I'm not sure.

Overall I think you're really on the right track with your art! This is a really neat concept and it's got a very mysterious, quiet feel to it!

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VivaFariy [2014-04-18 05:21:24 +0000 UTC]

Lovely piece

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tie-dye-flag [2014-04-18 03:56:11 +0000 UTC]

Very interesting interpretation of the color red, too

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