Finished, I like this one and, as a bonus, it took less time than the others.
Trying a different approach on this one. Starting with a prepared page I slipped some thin Burnt Umber or white to make general tonal decisions before marking out proportions. Proportions are vital and a weakness that has cost me time in repairs in previous pictures. Just as tricky is composition. Placement on the page gives some sense of meaning in the picture. That meaning could be a narrative fragment, or mood.
I’m happy with this one, it’s got quite a classic look and took less time than any of he others. Skin tones used Yellow Ochre, a first for me. By itself, ochre has a sallow look in skin, but with a sniff of vermilion, the magic happens. In real life, these pictures are all smoother than the photo suggests. To finish, a few fine details will help – eyelashes and a bit of modelling on the top lip. I can hardly wait to see ochre in oil.
