It doesn't stop me wondering how nice colors impresions you can do with your dithering and c64 palette

You know that you dither correctly when you.... see illustration above :p

 This is really lovely! I love the energy and vibrance : )

 How the heck did you find that so fast cure? anyway, nice piece.

Make sure to post the references for any photo-based work. I dig the pixel art, the continuum between the spiral and the cheekbone is really nice.

Tocky: As difficult as it might seem visually, it is breaken down to individuall pieces just treated somewhat regardless to the different "layers". Background, foreground and the interplay with geometry. Then the overall fields to describe a face as a seperate play of floating blobs.

The background is done as a seperate piece in itself. A set of iterations, mirrored, scaled and rotated. You could probably program it to get it accurate enough I guess, by freehand one has to rely on the spiral movement it makes. The outlines of the face as one, interpretating the face of Yulia Tymoschenko in this case and then the floating curvatures as one, molding the face giving it texture, tone and lightsource.

It's an act of trial and error and eventually it gets to a point when it looks rather ok. On the way of struggeling, it usually looks poor and awful. But as a working process one gets into the habbit after several tries and knows what works or not.

As with many of my pieces I've been especially interested in the juxtaposition of different "layers" as a set of complexity when they get superimposed. I've found out that one cannot really have more sets than a few, say 3 different ones leaving marks ontop. With more it gets messy and reaches noise impossible to control or to remember, and with too few it gets rather flat.

Try yourself and I believe you'll get to the same conclusion.

i mean, it's doubly incredible that you do this kind of work in c64 multicolor, but that's not the specific thing about it that is shocking for me.

oh, i understand the restrictions for c64 art, i think.

but what's confusing for me, is the way you mix information over the top of itself. so at any point in an image, or any block of space between two points on an image, there can be
- abstract detail (like a pattern fill)
-blocks of color to show the shape of forms (like 3d lighting information)
-specific detail (like the lines that form an eye or something)
-texture information (how smooth is a surface)
-(when using limited palletes) patterned color mixing to create new colors
-and multiple instances of any of this stuff

and looking through your stuff i like that you always have multiple things going on, whereever I look in the image, and each level is carefully defined. this level of discipline is rare in my experience.

 The c64 has 16 colors, which can't be changed. I prefer the pepto-palette, since that is how I remembered the vic-II on a crt. Read more about it here:
http://noname.c64.org/csdb/release/?id=33660, and the fast version in the beginning of this:http://www.youtube.com/watch?v=bKk0m-GDFdc. So the colors go well together, when you know the rules it's simple tools.

man i wish i could say i understand how you do this sort of crosshatching. all your work shows a pretty incredible level of control over color and tone, at multiple scales/levels of abstraction. good work son.

This, and all of your C64 peices, is amazing.