a little progress report on my two lovelies:) ignore his face, and check out the brightness that tess's face has taken. her highlights are barely placed, and there are going to be two dramatic sweeps of light on her hair and shoulder, but that's later, her nose is sqinching in her smile and her undertones are right where i wanted them in that yellow/orange hue.
looking at troy now, i've come in with some repair to the nose area, i also noticed that i need open his eyes some, and so i played with layering his inner lid (light to dark) until i could see the eye open up. i'll probably do the same with the other.
now here is a catch, and where i start feeling all "dramatic artist questions point of existence" tess and troy have similar, but not like skin tones. yes, i know, we all do, but i think it becomes something of an exercise in itself when you are dealing with skin tones that have greater amounts of melanin. why is that a catch? you want the eye to travel through the painting fluidly, and when you have these tone variances it can put a speed bump in that fluidity. here are the times i turn toward my books i'm sure i've mentioned them in earlier posts, "the art spirit", and "painting atelier." i think in these modern times, when or if you don't have a mentor good books can personify themselves as mentor, friend, and guide. some are better than others, but when you find one that is really "saying something" treasure it! what i'm going to try as a solution is tie it together with same color tones in the shadows. if i give them the same undertone in the highlights, ick, i just don't like it. it makes them run together. not good. so i'm going to pull some of that periwinkle blue that's playing in the background into some of the secondary shadows of their skin and see if that brings some harmony. wish me great discovery!!!