What do you think?

Hi Michael,

One of the predominant casualties when a painting "gets tight" are the edges. This is a particular danger, among many, when depending too much upon photographic references. Try varying them to a much greater extent. As Cynthia pointed out, the area in which all the sharp edges first grab my eye is the jawline. Try softening the edge of the dark side of the face, loosing it into the hair. Carry this idea farther throughout the entire composition, e.g. blend the hair on the dark side of the head into the chair, and (parts of) the top edge of the chair into the background.

One tip which may help U 2 choose edges 2 soften is 2 think of "selective focus". When U're looking at the subject, most likely focusing upon her eyes, what aren't U focusing your eyes sharply upon? By thinking in this way, U can guide the eyes of the viewer of the painting in a manner similar to that in which your perception was guided when U decided 2 paint this woman.

"Lost and Found" edges are one of the most exciting differences between photography and painting. If U haven't yet, treat yourself to the pictures in any book by Richard Schmid. Enjoy!