Allison, thank you for the tips. I fixed the shoulder thanks to you - the rest must stay, I found out the hard way that there is no use to try fixing stuff like raising eyes - even if the model was here again (she will be later this week) - she will be in a different mood, I will be in a different mood - wont work - besides that the paint will be sticky then.
I have ruined paintings when trying to fix such things, so either I scrape off the painting completely and start over the ghost image that is left or even better start again on a blank canvas. Having the eyes too low is a common mistake in my paintings, I need to be careful next time.
Thank you very very much Carol. I'm glad you like it !
Thank you a lot Gianni !
Here is my current setup:
Sometimes I paint sight size, with the easel directly next to the model - but for this one not. Painting sight size is very limited in a small studio (or to be correct: a small single room flat - which is all I can afford - but it has become just a painting studio with a bed in the corner) like mine since I need to light the model and the easel at the same time, limiting greatly the choices how to light the model. So for this one the easel is about 2m away from the model. I light it with daylight flouorescent lights. The curtain is to block the painting light from the model light.
Here is my newly build soft-box thingy. It is just a 1.2m x 1.4m stretcher bars over which I put tracing paper and hang the whole thing on string on the ceiling (careful that these strings hold well and the thing doesn't come down). I only have a normal room height - if you have a higher room would be much better.
The light above the tracing-paper-frame is on tripods. They are heavy duty ones. I found the ones from the chinese company "Jinbei" very stable for the price:
Not sure if they are easy to get in the USA.
On of my most important recent discoveries is to put a mirror behind me. It doesn not really to be a large one if it is well positioned - like 40x50cm or larger. But better be a bit larger so you still see your painting when you move a bit. This will give you the double viewing distance than the room normally allows and also spares you a lot of walking back and forth. I look into it after almost every brushstroke and it helps extremely to see if the values are off. A hand-mirror is what often is suggested by other painters (Phillipe DeLaszo used one for example) - but I found it too annoying to fumble around with a hand mirror so I got a cheap one and just put it on the window shelf behind me.