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Career Expert Research Assignment

Photography as a Career

• Salary Median- $26,080
• Take pictures for money
• Focuses on lights lenses and cameras
• Wide range of photography jobs from taking pictures at a wedding to scientific photos for research
• Now in the new age pohotographers cameras are digital meaning they can look at thier pictures instantly after taking and can download onto the computer and finish up the photo with different effects
• Photographers are hired by manufacteurs, the government, and a lot of the time self employed
• Could also work as a proffesional fashion photographer

Sculpture Write Up

     When starting my sculpturing process there were many things that I had to do before actually starting to sew. I had to do research and find inspiration, find a song that I could connect to and base my sculpting off of and lastly I had to lay out all of my materials and figure out how I would use them. The song that I used to connect to my sculpture was The 59th Street Bridge Song, composed by Simon and Garfunkel. This song evokes many feelings. The overall message of the song is the emotion of “feelin’ groovy”. One might ask, what exactly is “feelin’ groovy”? It can be interpreted in different ways but for me I felt that it meant ultimate happiness, a feeling of no worries, and not caring what others think of you.

     Before starting the sculpting process, many classes were spent getting to know the human form. I did this using the manikins, using quick sketches and long precise sketches. This process was very important in getting to know how certain movements affected the human body, and showing more or less of a certain part of the body (foreshortening). As this process came to an end, as I said I went to find inspiration, because to be honest, at the start of the project I was pretty overwhelmed as I had never sculpted before, let alone sew. To find inspiration I searched through the Fiber Art magazines, and surfed the internet, which exposed me to interesting things that I could do to portray certain feelings in my sculpture. I found many sculptures that had been made out of the most random materials that showed me that the ‘norm’ wasn’t always the best way to go. Some of these materials were things made out of newspaper clippings, ticket stubs, and shoes pieces etc. It also showed me that realism isn’t always the most accurate or best way to do things. I had always thought that the more recognizable a piece is the better, but noticed this was not true. The fun thing about this project is that I had a lot of freedom, as I could use a lot of materials as long as it made a connection to my song. After doing this I created paper replicas of what I wanted my body sculture to look like. The first one I did was way to big, so i created a second which ended up helping me for cutting out my fabrics.

     When I first picked my materials I thought about the basics, the colours. I wanted to find out a way to connect to my song through the materials I chose. I decided that warm colours would convey that feeling of ultimate happiness. This is why my final product consists of only reds, yellows, whites, silvers, pinks, greens and blues (all warm colours). The only place where black is on my piece is on my lamppost, and some stitching. The reason for this is because I felt it created a very interesting contrast. I decided the lamppost should be black because a lamppost doesn’t portray any feelings. So I decided to make it black which in the end created as I mentioned a very interesting contrast to the warm coloured sculpture. The black stitching in my piece was for a reason. I figured that although this man in my sculpture feels unstoppable, and is feeling ultimate happiness, no one in the world has ‘no worries’. Although I mentioned that this man has does in fact have no worries, every person has something deep inside of them that is bothering them that might not be showing but still exists. This is why the black stitching was used, to convey the dark roots/ veins and the darker feelings, which he is not showing.


     One might ask why I decided to use a lamppost in my piece. The reason for this is because in the song it directly mentions a lamppost. As I listened to the song there was a line “Hello, lamppost, whatcha knowin’?” This painted a very vivid image in my mind of a man smiling, and swinging around a lamppost. I felt that this was the perfect image to convey through my sculpture. I also felt that this lamppost would be an interesting addition to my piece, instead of a man by himself. For my lamppost I used black material for the shaft, and for the top the bulb, I created a ball using cotton surrounded by fabric. Once this was sewn I stuck yellow topped pins in to show the light of the bulb. To emphasise the brightness of the bulb I attached golden string onto these pins which would hang down and wind around the lamppost, which in the end turned out great! Also my lamppost is a lot smaller than my person, to scale. The reason i did this is the portray the fact that this man is feeling larger than life.

     I terms of movement I wanted a lot. I felt by having a sculpture with a lot of movement it would get across this feeling of ultimate happiness. In terms of movement of the viewer’s eye through the piece, I used different techniques and fabrics that help guide the viewer’s eye. I used many different patterns and fabrics throughout my piece. For one of my legs I tried a different approached to the sewing. Instead of folding the piece of fabric in two sewing the two sides together and then switching it so that the stitching would not be shown, my approach showed the stitching. Not only did it show the stitch but by taking a long skinny piece of cloth and using a toilet paper roll, rolled the skinny cloth around so that it would give it great form. After I had the form I stitched it in circles (see sculpture, hard to explain) and this created a very cylindrical thigh. I thought that this created very interesting movement as it moves the views eye all over the place. Another part of my piece that I felt was very helpful in terms of movement and was very unique was my hair. For my hair I used an assortment of old string and sewed them together creating a wacky, crazy hair doo that showed the viewer that this man really does not care what others think of him, and that he is a free spirit. Another techinque that I used to evoke these feelings, was to not sew the end of the one of my arms and legs together, as I felt the frayed cloth contributed to this feeling.

     To create form in my art piece I used a couple different methods. The overall method was after sewing an arm or a leg etc. was to stuff it with cotton. This would stiffen up and fill out my sculpture. Other things were used to stiffen up my sculpture were materials such as the interfacing. The interfacing was used primarily in my main body/ chest structure. For this I actually had to sew 4 pieces of material together, the two outside cloth pieces and the two interfacing pieces. Overtop of this I sewed patterned fabric to give it colour. Other techniques I used to give my piece form were wrapping string around my arms. By wrapping the string around my arms it allowed me to form the arm, for example pull the string tighter near my hand because it is skinnier than my biceps area. For my bicep area I just softly rapped the string around. Overall this I felt was a great addition to my piece, and in terms of form was very effective.


     In terms of my final product compared to my intended message, many similarities are present but there are still a few differences. In my piece I followed my ideas of using warm colours, and using the lamppost. I also followed the idea of having a sculpture with a lot of movement. These similarities were some of the most effective elements of my sculpture that helped it connect to my song. Many differences were present though from my intended message. I felt that this was a good thing as it showed that I my rationale for certain things improved. In my intended message I mentioned that I wanted to use very soft materials and create a very limp loose structure, but as I started actually experimenting with the materials I noticed that having a strong stiffer sculpture still allows you to form the bodies’ movement. In my intended message I was scared that if I used the interfacing that it would make my sculpture like a manikin. I know have figured that this of course is not the case and by using the interfacing it gives the body great strong form. Another main difference between my intended message and my final product was that in the start I was experimenting with wire and had set my mind on a wire based sculpture. I figured that by having a wire structure I could sew material around it so I could still have this loose limp feeling but be held up by the wire. This seemed like a very good idea, but as I started with the wire I noticed that it would require a great amount of difficulty. Another difference was in my intended message I wanted my sculpture to be hanging from a wire but now notice that this is too tough because of the lamppost. So I decided to put my sculpture and lamppost on a piece of cardboard. Overall my intended message was a lot different than my final product.

      If I had to pick out two positive elements to my sculpture it would have to be the form, and the fabrics that I chose. I was extremely pleased with the form of my piece. I used multiple layers and stuffed lots of cotton, which in the end gave my sculpture great form. As I already mentioned the string that I wrapped around my arms I felt was very effective in creating the form of the arm (the skinny parts and the fatter parts). The fabrics that I chose in my piece worked out really well, in terms of the colours of them and the texture. The different colours in my piece I felt was very unique. On my chest area it almost looks like patch work, consisting of many different plaid designs. I felt by adding all of these different warm coloured fabrics it could portray the fact that this man has so many good feeling going through his mind. I also felt that the textures of my fabrics added an interesting spin to my piece. My ‘underwear’ part of my piece is very rugged and messy which was done on purpose, to show the fact that this man has no worries and doesn’t care what others think of him. I used a mixture of silky smooth fabrics, and soft cotton fabrics to show that this man is not plain but a mixture of many different feelings. If I had to point out one area for improvement it would be my sewing. Before this project I had never sewed before, maybe the odd grade 2 project but nothing that had developed skill for me in sewing. As I got further along in my sculpture I became better with my sewing but am still not completely pleased with the actual sewing of my piece. I became very frustrated at many points along my process through trying different sewing techniques, which I figured were too hard. On several occasions I had to actually re sew parts of piece as I was not pleased with the outcome. Overall I just found the sewing aspect to be very frustrating for the sole reason that I had no previous experience with it.


     How would I display my piece for an exhibition? I originally as previously stated I wanted my piece to be hanging from a wire, but now if it were to be displayed I would want it on cardboard with felt on top, and my sculpture sewed onto the felt. Lighting of course would be important. The features that I would highlight would be the side of the body where the light of the lamppost is hitting to give the effect that the lamppost is actually shining.

     Once I had decided  that I wanted to display my sculpture on a board with felt, with the lamppost and the body sewed on I tried it. After 2 hours of complete frustration i figured that my body was simply to big to support at just the base. I figured my dreams of having my sculpture standing up would not come true. What I did was lay the lamppost and body on the board so that it was lying on the cardboard and then i could attach a wire from the roof to this cardboard where my lamppost and sculpture would be. This turned out to be a lot easier and gave the overall look of my peice a great effect, becuase now, I could accomplish my original intent which was having my piece hang from the ceiling.

     For my cardboard base, I did not want a plain piece of cardboard, so what I did was take 4 different pieces of cloth, all in the same quare shape, sew them together so that each piece was one quarter of a bigger square. Then after trying to sew this square of cloth to the cardboard, and noticing that the cardboard was to tough I simply stapled the cloth to the cardboard. One this was done, as already stated, I took my man, sewed his arm to the lamppost, then sewed the two pieces to the cardboard lying down. Overall I was very happy with this decision, and felt that it still gave my man movement and flexibility, to show his hsppy free flowing nature.

     Overall this sewing process took a lot longer than expected. Through experimentation and hard work I discovered many new sewing techniques and gained a greater appreciation for soft sculpture.

This Photo is my first attempt at creating a replica of what my body sculpture would be. It turned out being way to big leading me to make another.

This is my second attempt, which is a lot smaller and you will get a feeling of that in the next picture which is the two side by side. (I could not rotate this picture, so i just left it)

This is a picture of the two side by each showing the difference in size.

Here is a picture of my lamppost with the black stem and the bulb is on the top. I used yellow tipped pins with gold string attached to represent the light from the bulb.

Here is an image of the bulb showing the yellow tipped pins and the golden string.

This is a picture of the underwear of my peice. It is used out of very ragged material that connects to my song. It does this becuase by having ragged material it shows that this man does not care what other people think.

This is a picture of one of my arms. It is used using two pieces of fabric. I used a simple weaving pattern to sew both of these materials.

This is a picture of one of the upper thighs. As one can see I took a long skinny piece of fabric, and rolled it around a tiolet paper roll. I then sewed around the outside, to make it look like a raquet grip. I felt that this was a very unique technique, that added a different element to my piece.

This is my sculpture about halfway through the process. As you can see i started patch-work on my chest area, and where the underwear and my upper body meet, it isn't straight on. The underwear is acutally tilted, which in the end will hopefully give the legs a different movement.

This is a picture of the back of my sculptures head. It shows the wacky hair which is supposed to get accross the idea that this man is a free spirit, and the messy hair I feel shows this perfectly. I kept the hair on by sewing al of the peices of string togetherm and then randomly sewing parts of that ball of string to the head. In the end I felt it was a great touch and helped greatly towards my message.

This picture shows the front of my sculptures head. The stiching I chose was red, and felt it drew the viewers eye towards the head, and I felt that in this case the stiching was very well done as each stitch was as even as the one that came before it.

Here is a picture of my finalized man before I made the step of sewing the legs together at the bottom and sewed the arm to the lamppost. The movemetn of the body is easeir to see when closer as one side of the hip is showing and the other isn't. This is the effect that I learned when working with the manikins.

This is a picture of the base of my sculpture, which as previously stated was made using a piece of cardboard, with coth on-top. I tried to sew this piece of cloth to the cardboard but found this way to difficult, so i figured I could staple it to the board. It may seem like I was taking the easy way out, but I did try and make the sewing work for this partm but found it too hard. And the peice of cloth is not one peice, it is a square made up of four different clothes sewn together, makeing each sqaure a quadrant of one big square, as you can see below. This patch pattern was done again to show warm colours, and evoke different feelings, that my man is feeling. I feel that it shows a lot more than a plain piece of cardboard, and certainly contributes to my goal of evoking ultimate happiness.

This picture shows my final man, attached to the lamppost. It also for this sew the legs together at the bottom, becuase I felt that it showed more of a swinging motion when the legs where closer together than apart. The last thing I did was simply attach the arm to my lamppost by sewing it.

This is a picture of my final product as my piece, both man and lamppost are now sewn to the base. I feel that the contrast between the base and my sculpture, is a very interesting effect. Overall I feel that this turned out great, and by having the two lying down instead of standing it makes my structure seem stronger and more durable.

Intended Message

For my sculpture I am using the song by Simon and Garfunkel, The 59th Street Bridge Song. It talks a lot of happiness, serentity, and 'feelin groovy'. I want to sculpte a very fluid sculpture that has alot of movement. I want to sculpte the human form jumping for joy. Overall i want to get accross the message of living life to the fullest, and the message of no worries. In terms of the actual lyrics, the first verse talks of taking life easy, not going to fast through life. It then talks about just kickin' down the cobblestones, which paints a very vivid picture in my mind, of a man strolling down a street hanging on to a lamp post (swining around a lamp post). In the second verse it even talks of a lamppost. This will do a great job in potraying my idea of a picture with alot of movement. For my sculpture i want to use alot of warm colours that will also bring forth the vibrant energy that the song gives off about feelin' groovy. For materials I want to use soft linens/ cottons that will make my sculpture flow more and be more limp, rather than a rough, stiff sculpture. In terms of the base of my sculpture I will have to experiment, but i feel that having a sculpture hanging from clear wire, in mid air is a great effect. I also think that this might be hard if i want to have my sculpture swining around a lamppost. For the insides of my sculpture I want to use wire in a 2-D form then wrap thin wire around to create that sense of form, and then stuff the inside with cotton. Once I have done this i would wrap and sew various materials onto this wirey frame. I feel that by doing this it will give me a more concrete base in terms of my structural components. Overall i think that this sculpture will include lots of experimentation becuase I have never done this type of sculpture before, but I feel that I have a very good idea of where to start.

Lyrics to Simon and Garfunkels The 59th Street Bridge Song

Slow down, you move too fast.
You got to make the mornin' last.

Just kickin' down the cobblestones,

Lookin' for fun and feelin' groovy.

Ba da da da da da da, feelin' groovy.

Hello, lamppost, whatcha knowin'?

I come to watch your flowers growin'.

Ain'tcha got no rhymes for me?

Doo it doo doo, feelin' groovy.

Ba da da da da da da, feelin' groovy.

I got no deeds to do, no promises to keep.

I'm dappled and drowsy and ready to sleep

Let the morningtime drop all it's petals on me

Life, I love you, all is groovy!

Ba da da da da da da ba bap a dee...

Self Portrait- Painting Write Up

Before starting my painting when I looked at pictures of certain artists I wasn't as inspired as I thought I would be. It wasn't until I had troubles deciding what to do with my painting, that these artists actually did something for me. I ran into the most problems with my collared shirt, although it did not seem like a tough task, it took me many times and different artsits to insipire different ways to potray the shirt. Three artists in particular helped me throughout my painting. These artists were Arthur Shilling, Lucien Freud, and David Hockney. I liked David Hockney because of the mixture of realistic and almost amatuer feautures drawn in his paintings. David Hockney was one of these Artists that helped me with my shirt, showing me that you can have a very detailed face, such as mine, and a less detailed, and almost amatuerly painted shirt. He showed me that paintings don't always have to be like the exact thing. Here one of David Hockney's painitngs that shows an example of this. This picture shows a detailed body, with very simple lines to define the water.

   The next artist, Lucien Freud helped me with my face. He adds layers and layers of paint to create contours on his face which gives a very cool effect. I used this effect under my eye and at the top of my chin, where the paint actually creates a mound becuase there is so much built up. this works fantastically, instead of just painting in a dark shadow you can acutally create contours in the face by using large amounts of paint. I found it most effective for dark shadows, such as the bags under my eyes. Here is one of Freuds paintings that I found to inspire me.

The last artist that inspired me was Arthur Shilling. He really helped me with my collared shirt. He uses alot of black line to outline features of his face, and body to pop them out, and bring them to life. For my painting I did not want to use black, so i used white to outline my collared shirt. It really popped out my shoulder, and made greater contrast with my dark foreground. He helped me with the simple lines that I added to my shirt, instead of using lots of thin complicated lines. I also used this technique with my forehead. I used a dark blue  to pop out the top of my forehead. Again what it did was pop out my forehead, while creating a noticable contrast between the the line and the highlights that were on my forehead. Here is a picture of one of Arthur Shillings photos that inspired me. This painting is a self portrait of David Hockney, and was not as inspiring as one I found in his book the Ojibway Dream, but it gives off the same idea.

    At the start of my painting process, I wasn’t to sure what feeling I wanted to possess in my painting. My picture showed lots of joy, and excitement, so I felt that the best way of getting this across was by using lighter colours. Colour, one of the principles of design, was one of the main things that I focused on through my painting process. I found mixing the colours lots of fun, but hard to replicate certain colours. The skin tones that I mixed, and chose were very light. Of course the lighter values would evoke a feeling of happiness and joy, and the darker colours would be used for darker paintings evoking feelings of sadness. I used lots of oranges as I went along in my painting. These oranges were used by mixing a lot of yellow and a bit of red. With my skin tones I felt by adding white it created a perfect skin tone, while keeping the orange tint. I used blues and purples for parts that were not meant to express a feeling, such as my neck or the front right foreground of my painting. I used these colours strictly for contrast that ended up being very successful in making my face and shoulder pop out. These darker colours although very effective, were not as useful as these lighter colours.

   At the start of the painting although I knew what I wanted to express it was hard to actually articulate my feelings on the canvas. An example of this is my lips. In my picture my lips are grinning, but at the start of my painting process it looked like I was covering my teeth, and did not look happy. I found out instead of working on lips, working on the values, and building up lighter colours around the lips helped define them. So by blocking in values around the lips it worked out better than working on the lips alone. I felt that shape played a huge role in my painting and helping to define what emotion I was trying to portray. I started of my painting with very vague shapes, and lines, that expressed no feelings at all. I worked very hard on just creating the right proportions. I noticed that my nostrils looked like they were being flared, and my eyes were very high up on my forehead, and once I changed these features it made my piece a lot softer, and calmer. It wasn’t as intense because there wasn’t a flaring nostril, and the proportions were correct. The proportions really helped pull my whole piece together. Simple things such as defining my ear with a bit of white helped it pop out and define my jaw line. The smile was created by the shape of my jaw. My jaw line I felt was a key part of my painting that helped the shape by using a lot of dark values. Overall as I progressed, the shape and form of my painting, made it seem more realistic, and really helped me get across certain emotions, such as softness, and happiness.

    Certain elements of design, such as line, and value played huge roles in my painting. Throughout my painting, I used lots of different techniques that I was taught in class. I used the dry brush technique, which was having a colour on my brush but stroking it across the wooden canvas to paint a part of my painting but still let the colours I was painting over, show through. This I found was a very effective technique. I felt that this dry brush technique was very useful, but for the most part used a lot of wet on wet. This got to the point where sometimes I would not even mix colours on my palette but mix them on the actual painting. The great thing with acrylic was that if this did not work out I could always go over with a new colour. This gave me a lot of freedom to experiment with these techniques. In terms of value I focused, and used a lot of contrast. I the contrast in my painting helped pop things out, give them life, and emphasize certain features. It helped portray the feelings that i was trying to get across, such as happiness. Contrast did this because it showed the light (happy) values in my face and contrasted them against the dark harsh colours in my neck. I used this in my collared shirt, to help create the difference between the inside and the outside of my shirt. Overall these elements of design really helped my paintings overall emotion, and helped emphasize certain features of my face.

    In my painting, my background was something that I wished I had thought about more at the start of the process. I started off with a light, very soft background, which consisted of yellows and reds. I did this because I didn't want to draw a lot of attention to it. I used a light blue fore my middle ground. I used thick brushstrokes going back and forth in a horizontal motion. I used this blue because I wanted to create a blue sky. I wanted it to seem like I was looking off into the distance of a nice blue sky. I used negative space on the right to create this feeling that i was looking into the distance. In the foreground I used a lot of experimentation. I started off with a dark green. This colour was just filled in without thinking about what it would do. I felt that this wasn't the right choice, but when I looked at the difference in the pictures I noticed that the contrast between the blue sky and the blue shirt was very weak. The contrast between the dark, rich green complemented the shirt, and popped it out. Near the end of my painting I had free time and felt I should experiment with matte medium. I used this throughout my whole piece, but didn't notice it as much in my face, as my background, and foreground. I used this matte medium with thick, vertical brush strokes. Since I added the green foreground in after the matte medium was added, it gave the foreground a feeling of movement. The horizontal brush strokes of the foreground and the vertical brush strokes of the matte medium complemented each other greatly. When I moved from the green in the foreground, to the blue in the middle ground, I almost blended the two colours. I did this by using the dry brush technique. By using the dry brush technique with the matte medium, it looks almost like blades of grass, which turned out to be a very effective addition to my painting. Also in my foreground, below my shirt I felt by leaving some of the wood untouched it would give a very effective use of negative space. In the end I appreciated my decision, because it created great perspective. Overall I was very happy with the way my foreground, middle ground and background turned out.

Self Assessment


    When I think back to the first class that we started these paintings, i have come a long way. I felt that it expressed the feelings that I was trying to convey. The painting didn't only express feeling of the picture I was painting off of, but gave off feeling of my personality. It gave of joyous and vibrant feelings, which are traits I feel express my personality. For this painting my medium of choice was acrylic paint. It gave me tons of freedom to take risks and try out new things, such as the tape on my shirt. I could do this because if I made a mistake it could be easily fixed by just painting over with another colour. I noticed many positive things about my painting. One of the things that I noticed was major contrasts that I created between light and dark values, which really popped out certain features, and created balance throughout the painting. The second positive thing I have to say about my painting is the colour, and how I was able to mix many extraordinary skin tones. I loved how my brush strokes were not all in the same direction, and created a lot of movement throughout my painting.

Self Portrait Painting

This is from the first class of work. As you can see there are very rough paint strokes, and all that I was working on were the proportions of the face, and filling in a backround colour. I choose a mixture of blue and white for my backround, that created great contrast with the orange tints that I later added to my face.

These two pictures were taken after the second class of painting. The one of the left is taken in the P setting on the camera which brough out the oranges in my photo, which i felt were a more realistic view of my picture in real life. The picture on the right was taken using the automatic setting which brings out the darker values, and more browns than oranges. As you can see lots of progress was made between the first and the second class. I started to work on more of a realistic skin tone, and started to really define the jaw line. I started a rough paint of my shirt.

In this photo I have made tremendous amounts of progress from the last photos. Once I got into the feeling of working with the paints i started to work faster, and probaly didn't take enough pictures in this time period, beucase there is such a drastic change. I started to make things more realistic. For this class i worked stricktly on the face, and perfecting the proportions, and starting with highllights. I fixed my nose, by making the nostril less noticable, and adding in some shading. I moved my eye down to make my forehead bigger. I defined the ear with a white tint which really helped my whole painting in terms of form. I added in the highlights in my cheek, forehead, and the top of the chin, making them really pop out. I brought my hair down over my ear, which was something that i had noticed to do, according to the photo of me. Overall lots of great steps taken.

These two pictures like the two above, are taken with the two different settings (P and Automatic). In this class i focused on blocking in the shading in and around the eye, and creating darker values in my hair. Overall not alot of change was made in this class, but i worked on very little things such as the ear, and making the highlights in myforehead visible but less intense. These things are hard to spot between the above photo and the two below.

Starting this class i felt that the proportions in my face were great, and everything was looking good, and i did not want to overwork my painting so i decided to start to work on my shirt, that ended up taking alot more work that i imagined. The shirt that i was trying to replicate had waffle stripes, or checkers. I felt that using thin strips of tape, that went in the ontours of the shirt and painting over them. And then i would peel these strips off. These strips took a whole class to cut up,place, and take off, and in the end i was not satifsied. I felt that the strips stood out to much. Overall my experimentation was a faluire and i wasted a whole class.

In the last remaining classes i worked extremely hard on refining my shirt. The picture on the left is the outcome of the tape, with a blue water colour layed over. I thought that maybe a straight blue would be the easiest and look great. This is of course the middle picture. When I looked between these two picture i noticed that the white line on my shoulder(from the picture on the left) creatred great contrast and popped out the shoulder. I felt i needed to step away from my painting and look at some art books. I found one that showed really defined black lines to pop out the face, and shirt, andi felt that i could use this strategy with my shirt. This is why I decided to make really defined stripesd lines in my shirt. I also used this defined line strategy on the top of my forehead with a blue colour, and on the bottom of my chin.

This is the final product, and the real only change is that dark purple that defined, and created the difference between the inside and the outside of my shirt.

This is the picture that i worked off of.

This is a picture of my face zomed in. You can really see the definition of my cheek, the dark values that surroundthe eye, that work their way down the side of my nose, and the definition of my chin.

This is a picture of myself working on a picture of myself