|
Hi Mike:
Before you think, "Oh, that Bartner fellow again" I have another suggestion. Getting back to what Chris said about the absence of strong light fall on the figure, you may want to take a look at Peggy Baumgaertner's site under Charcoal & Sauce Portraits, specifically the drawing of "Keily."
Much of what is in that drawing with regard to the rendering of form you may find applicable to Morgan. For example, notice how the lower lip division on the light side of her face is barely perceptible. Lips are difficult and must be thought of as part of a larger form, not cut out or evenly delineated. Also the shadows at the corners of Keily's mouth are just dark and gradated enough and suggest the softness of her skin.
The shadow defining the bridge of Keily's nose on the light side of her face is hardly visible. Because the light is coming from one source, much of the form on the light side of the face is underplayed yet very convincing. On the shadow side, the eye is heavily in shadow yet just enough form is visible to make it believable. This in turn helps bring the viewer's attention directly to her left eye. The left eye carries the right so to speak. Notice by the way the constant variation of the hair line above her forehead.
You can go on and on about this, but the best thing to do is really study drawings of this nature. The Degas study of Giovanna Bellelli is a classic study of light and shadow. I must have copied it six times. It's important to acquire a drawing vocabulary and try to apply it whenever possible.
Enough said. I'll shut up now and get back to my own work.
|