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Striking result!  A good study.

Good to see how you're eating the "Bones Elephant" one bite at a time.

 

My two cents for you to take to your next OSL: 

1) Differentiate the materials and colors that the light is falling on, and remember that the source of the light must be lighter/brighter than the objects it's illuminating.  If I wanted this black cloak to be wool, I would use dark green from most of the lighted area, and a medium gray-green as the highest highlight; if I wanted it to be shiny black silk or magical cloth, I would go lighter because it's partially reflecting the light.  Pale skin goes to a lighter greenish color.  Shiny objects (such as the gems around the mantle) would show small glints of intense pale green -- reflections of the crystal light source on the staff.

2)  Where an object is curving from in-light to out-of-light (such as the top of the hood), make a more gradual transition, such as by stippling the green and black along the boundary.  Analogy: the fuzzy twilight edge of the half-moon in the sky.

 

When I've painted figures whose eyes were deep in the recesses of their hoods, I've put just a glint of off-white in each eye, to show that there's something shiny/wet back in those shadows. 

 

Derek

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