(Note: Did you miss Steps 1-3? Search for “Sleepyhead!”)
I’ve let the painting dry a bit, so that I can utilize the “fat over lean” method of applying paint.
Moving away from ultramarine blue for a short time, I take some time to build up the softer passages in his cheek and shoulder with cadmium orange and permalba white, taking note of the subtle value change between the cast shadow and the light source highlighting his upper shoulder blade. This is where Photoshop or another image program can really help. When I convert the color reference photo to gray-scale, I can see the contrast shift changes without color influencing the painting. Color can sometimes distort how much, or how little, contrast exists between the head and the shoulder.
I’ll be tackling the chin, shadows, and the floor reflection next. Let me know what you think of my painting by leaving a comment below. Thanks!