I had taken MCKs words into close counsel but was sort of stumped as to how best to proceed with the painting. More than anything I needed to simplify the darker masses and put more accurate colors in her facial highlights.
I went back to the violet colors for her shadows, seems to work better overall as a painting. Then I did a bit of redrawing with her ear and hairline. It was then when I knew that the darkest parts of her hair needed to be emphasized, so I mixed ultramarine and alizarin to get a real dark blue/violet and painted those in. I also fixed the angle of her back like MCK suggested.
I kept checking my painting by employing the squinting technique and worked it that way. The patterns are more true to the subject. I noticed the her neck area sort of looked "blended" and smooth like I normally hate, but I wasn't worried here. Enough of the painting was working that I didn't panic. This one area was ok blended because so much else wasnt. I spent the rest of the time working out the details of her face, the blue/white highlights needed to be toned down, and I needed to distinguish the patterns better from the subject.
I mixed flake white with the slightest touch of cadmium orange to start distinguishing the pattern on her forehead and eyes more, which lead me to putting in the eye. That small move gave her life I think.
Here and there I did some touch up work (like near her clavicles). The next big move will be to put in her shawl, and I've decided to do that all with the palette knife.
Don't want to spend too much more time on her, I think it should be done by Wednesday next week. Of course MCK critiques on Monday and that will inform my direction. Now to get ready for écorché class on Sunday...
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