So one can't edit the original post? I have some additional notes ;) First, a blurred version of the reference at Beatrice instagram, https://www.instagram.com/p/CHXuzcynOsJ/ Second, this is my first oilpainting for 20 years, whohoo! ;) (I've done other stuff in between) Some of the oilcolours I'm using has been with me since the 90's. They were.... sticky.

Hi Mattias! I really enjoy your classical painting! You can really feel the light finding its way around the figure! I've done a quick overpainting of your WIP to better demonstrate my suggestions which are along the lines of the other commentators: - I think your idea was to simplify or "drown" the shadow side of the figure into one shape. That is very akin to comic books (like Hellboy) or the painter Rembrandt (or any representative of "Chiaroscuro"). But I think even with this stylized choice, the figure and its readability would benefit from a little bit of bounce light or "rim light" along the shadow side. I've done that in the overpainting along the jawline, the arm and the sloping back. - As already suggested, utilize the "sub-surface scattering" to illuminate and vitalize the skin. Otherwise it will look like clay. I've attached a portrait painting by Rembrandt which has a similar feel to your painting. Observe how Rembrandt uses very saturated, deep red colors around the nostrils, the cheeks, lips and chin to make the girl look alive. I've applied these principles to the overpainting. - Regarding your statement that the light side of the face is overlit: That is more a question of personal taste. You can compare classical paintings by Rembrandt, Van Rubens or Velasques (deep shadows, highly contrasted with bright highlights (see "impasto")) to impressionistic paintings by Van Gogh, John Singer Sargent or Claude Monet (high dynamic range, low contrast, "alla prima"). Personally, I like the bright light as is, but you can make small studies in different styles to see what fits best to you. - As already mentioned, there are some proportional issues in your painting. I tried my best to fix them but I would suggest to you observe your reference to your image or even overlay them in photoshop to see the proportional misalignments more clearly. Keep up the great work! Joël

Hey there! I love your painting! One thing that could really help to make the skin more realistic is if you used some deep, saturated color on the edges of hard light. That's subsurface scattering, which happens when light hits through the skin, and it frequently occurs on the edges of planes that were hit by direct light. My other tip would be a bit more practical :) If you are photographing your paintings make sure to use some diffused neutral light, because otherwise, your darks will be shining, which kind of ruins the piece. To do that easily, put a plastic bag on a flashlight and use that to light the painting. If it's still too shiny, use a second light source on the other side to balance it out. Hope I could help! Keep up the great work! :)

Hej Mattias, I think you did a great job. I love the mood and the pose. The hairs are great and her expression is excellent! I'm more a draftsman and (learing) digital painter. So I hope, I can give you some helpful feedbacks. Yes, definitly more cold colors would be great. Overall it looks to warm and brownish. Maybe she needs some redtones , so she get more alive. Her shoulder in the foreground looks weird. Her left cheekbone is "not there" and the areas under her eyebrow needs more volume. I did a paintover with some notes. So I can give you better feedback. I'm looking forward to your finished painting ;) Thomas