What to call it? Purple Shirt?

[Alexandra Tyng]

Julie, this is a very pleasing composition in terms of color, and it strikes me that it is as much about the yellow wall as it is about the purple camisole. Maybe something about the yellow-violet contrast could lead to a good title. Just a thought.

I agree with Mike's critique, and would also add that a few really definite strokes when putting in the light around the nose might accentuate the focal point. I think that, as it is now, everything is soft and you need just a few light/edge accents.

[Julie Deane]

Thanks, Mike. It's appreciated.

Yes, Alex, this is all about yellow and purple. It started off as a life study, and quickly demoralized me, because I could do nothing right on it. Something about working in my own home with a model and other artists friends present makes it harder, not easier, for me. I do a lot better away from home, working among strangers, for some reason. A psychological quirk? Anyway, I decided that - By Gum! - I was going to make it work, so took my time later with photos.

Right now the sharpest edge is the side of the chair, to bring it forward. I'll try those strokes to the nose along with the other changes and post later.

[Julie Deane]

Okay, I've spent a few hours on a head that's 5 1/2 inches high, which I'm not used to, and I've just about had all I can stand. But it definitely is improved. The colors are a bit off from the original, but you can see the progress.

[Julie Deane]

That last post was too overexposed. Here is a better idea of how it looks.

[Mike McCarty]

Julie,

I think everything looks much better. It's a very nice painting.

I believe I would vote to tone down the highlight on the nose a bit. Just one vote, touch screen, no paper trail here in Florida.

[Julie Deane]

Thanks, Mike. For something that started as a simple exercise, this sure has given me trouble. The highlight does bring the nose forward, but it's a bit much, isn't it?

[Alexandra Tyng]

Julie, this looks promising. I like the light. She looks more three-dimensional. Because the color key has changed, it might be a good idea to post the entire painting, too, so we can see where you are headed, even if you've only worked on the head.

Is the light on her face cool because she is watching TV? That actually might be interesting in terms of the color scheme (i.e. can you convey this to the viewer without showing the TV screen?) But I'm getting ahead of myself. I'm just saying that, if the light actually is cool, it could be used in the theme of the portrait, to your advantage. Of course if the light is not as cool as it looks in your photo, forget what I just said. This is not the only solution, obviously, and you may have something else in mind.

P.S. sorry, I didn't see you had posted the whole painting. I think it works and I like the highlight.

[Julie Deane]

Thanks, Alex. I learned from this piece that small pieces are not for me - too tough to get things in their proper place. Currently that highlight is gone again, but I'll probably put a hint of it back. One goal was to try and simulate different distances from the viewer by controlling highlights, edges, strengths of colors. The original plan was to recede the head a bit compared to the body and hands. The highlight on the nose in the post above was a bit too bold to do that. I can't say that my plan was totally successful, but overall I like the results okay.

[Chris Saper]

Dear Julie,

I completely agree - a lovely and restrained color harmony! I particularly enoy seeing your soft approach and the very compelling way you have communicated the color of the light and the way you have varied temperature throughout the skin tones.

Just a thought for the future - you might consider a composition wich doesn't truncate the fingers-. Thanks for posting this lovely piece.-

[Julie Deane]

Thanks, Chris,