Thanks so much guys, I feel so much better. So much in fact, that I assumed you were all lying and put another 2 1/2 hours into the face and background last night. I'm just kidding, I felt you guys were being honest, but still put more work into it. I adjusted the eyes, the mouth needed to be slightly bigger, the nose was too small, and her left cheek was drawn incorrectly. I fixed them last night and feel better about it now. I still need to work on the eyes at a later time. What's screwing me up is the amount of mascara she's wearing. It completely hides that pretty pink rim on the lower eyelid. I'm considering faking it by practicing on a different piece of paper.
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Jimmie I agree with Mike, your colors are so "fleshy". What is your palette and which kind of pastels. I think this is hard to achieve, I end up much more impressionistic with my pastel colors.
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I have a few colors from different companies. I posted a pic of my set under
here. In no way would I consider it a palette as I jump around from color to color cursing until something looks ok.
I start with the Polychromos, which are like the Nupastels. I like the Polychromos more, they are a little softer and they're supposed to last longer(lightfast). They work nicely for details later on also. I use Rembrandts early for blocking in shapes, I have a portrait and landscape set of them. I also have a small portrait set of Giraults. They're used the most because it's like holding a pencil, just wish I could afford the entire set. There's a small portrait set of Unison's that I use late in the painting. They have a real nice color, imo, for flesh highlights labled RE13. It's the lightest color in the face. Got some portrait Schminke's, but they're rarely used.
I'll post some updates and let you know what I've been doing. Thanks again everyone.