Figure and Portaits- Critique apriciated

[Niels Hoppe]

I’ve tried practicing rendering/shading lately, thought Id use the great opportunity to get some feedback.

 

I’ve used the four portraits as practice, I have mainly problems thinking about how light and form are interacting and to not just copy my reference, as well as controlling my tonal values. The portraits are quite small, about hand size.

Regarding my figures I’m wondering if I should take a look into anatomy already or keep practicing using basic forms.

 

Any critique/advise is apreceatet, especially regarding rendering/shading. (whatever is the correct term)

I’m sorry that the pictures aren’t the best quality wise

 

[rizk.christopher]

I love the sense of motion and expression on that last photo. You can really see and feel the turn of the neck and her, what I feel as, disgust to something. It may just be me but the eye on the right seems off. I can’t tell if it is a little small or a little to far away from the bridge of the nose. Could just be the perspective of the pose throwing me off though 🙂

[rizk.christopher]

Here’s a portrait I did over the weekend. I tried to get a close likeness to the model, but I still struggle with putting on a “Finish” to my piece to pull out more emotion. Not to mention better edges on my shading (Even though I can’t see it :P) 

[Sorasit Suprapoch]

There are number of things where you can improve but I’m only going to mention the main ones, one being value, light and dark – make sure the darkest part stays dark and the lightest stays light you do not want them to compete with one another because if they do so the drawing itself would look flat therefore it would not  give that three dimensions. An easy way to remember this is different value different planes.

[Niels Hoppe]

Thank you for taking time to look at my stuff, sorasit and christopher, I’ll keep your advice in mind.

[Joshua Jacobo]

@ChrisLegaspi critiqued your work @nielshoppe!

[sboydn]

@rizk-christopher :

I can see the careful labor and considered thought that went into this portrait!  There are a lot of things working here—the careful modelling of form in the scarf (?) around your subject’s neck, the shadows in the hair above her forehead, and the nose and cheek area, especially.  I also like the choice not to give her forehead a solid outline.

I feel there are two main areas where you could really improve this drawing.  First, the eyes; honestly, they look rather eerie.  They need more “white” at the near corners (not true white—your value in that little sliver of the white of the eye is good, just enlarge that area).  I think that one small change would make a world of difference!

The other biggest issue here is the shadow on the upper part of the head.  Lighting conditions that create such nice, strong shadows on the lower part of the head should leave more of a shadow on the near side of the forehead, too, I’d think, and I’d expect the core shadow to run closer to or into the near eye socket.  In fact, much of the hair on that side of the head should also be in shadow.

A few smaller things: I think the teeth would look better if you made them darker—they’d be somewhat shadowed by the upper lip—and perhaps simplified their bottom edge a little further (though I can tell you already put in a valiant effort not to draw the lines between them!).  More shadow on the bottom plane of the tip of the nose and of the end of the chin would be good, too.

Hope you find this helpful! 🙂

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