>>4220867thanks anon. It was from a mirror over 9 to 12 hours (I'm pretty slow still). There was definitely a variance in how much my muscles bunched up when I closed the eye, sometimes that side of my mouth was pulled up, sometimes not. IMO you can sorta see this in the painting; that side of the mouth/nose/lower cheek looks like a 'question mark' to me, like it's a few steps behind the nose or eyes in finish.
>>4220840your shadows could definitely be a step or two darker (although it's not necessary; if this portrait were part of a larger painting it would be ok to limit the range of values in order to maintain a heirarchy (i.e. foreground/background)). It looks like you've been painting pretty thickly so I wouldn't try to darken them wholesale or it's gonna be a mess unless you scrape it all, but then you may as well do another piece.
the more important thing, I think, is that on the whole it looks very cool. In my experience, this is a symptom of mixing an appropriate general light-side flesh color then darkening it simply by adding black. You need to add red as well.
Actually, it looks like you might be using white, peach/fleshtone, ivory black and a red of some sort (for the lips). I'd recommend switching out the fleshtone for ochre yellow and thus working with the zorn palette. You'll have to work more to get your basic 'peachy' flesh tones, but it'll be much easier to get a variance in warm colors that are the same value. For example, if you look at my painting, there's a reddish area beneath my tearduct and a same-value-but-yellowish area just NE of it on the side of my nose where it connects to the brow. I think this might be the kind of
>right skin tones and suchwarm-value variance (in my words) you're looking for.
>>4221269>All forms that turn away from you gain cool halftoneI don't think this is necessarily true.