Thanks for the critics and encouraging words, guys! And many thanks to CG Society for the Choice Award acknowledgement, it’s a longtime dream of mine come true to get around posting something for people to criticize and comment on, and not to even mention seeing my own work in such grand company in this particular gallery. Thank you!
The neck area: I think you are both right about it being a problem in the painting. I wanted to simplify it compared to the face part, but apparently I failed in doing that right. It works a lot better on the upper torso part than the neck area. The light could do with more definition indeed. The whole neck seems to be a bit stiff, too, like a pedestal jutting out from the body to support the head (more or less the case with neck generally I guess, but you catch my drift). Maybe it could do with a gentle curve along its lenght and more definition to the shape. Sasha’s right about the neck area, it’s something to pay more attention to in future pieces.
Very nice, Watch out for chroma discrepancies when compositing from different sources (max, PS), e’g. warm reds on her face versus greeny-grays on her neck.
This I find very interesting and I’d appreciate a lot if you could share more of your insight on this matter, if it’s not too much of an effort. Just to clarify the process: the piece is not composited from various sources, but painted exclusively in Photoshop (3dsmax was only used to create a mask for the small 3-leaf plants to save time and nerves). Nervermind that, but I take it you see a problem in the use of colour here? My approach to this was to introduce bounced light from the gray-green environment on the shadow areas of the skin to make them colder, and emphasize the colour even further to make it stand out more. Nothing scientific here, just the way I thought it appears nice to look at, even a bit more “fantastic” and not strictly realistic. I’ve always loved the way Boris Vallejo uses surprisingly bright colours in shadow areas for skin tones to make them more lively, and the skin tones here are my take on trying to introduce something similar to my piece. Nevermind this babble if you find it not worth commenting, but I’d love to hear your thoughts on it.
Mastery indeed, that’s something I’m struggling to achieve. I see it’s about being able to establish a workflow to introduce all the knowledge you have on colour, composition, execution etc. in a controlled manner; being able to control every aspect of the piece and to know exactly what you are doing in every stage. Plus the skill. At the moment, my workflow is more like constantly pushing my skills to find good ways to work, and back up and try something different in case it doesn’t work. Thanks for the remark anyway!