Step 4: This stage is where I can stand back and look at my sketch lines and my actual paint. What I am looking for is the contour under the nose, the area along the bridge of the nose, the dimple area, and so on to see if I’m still in line with the photo or am I starting to loose touch.
Step 5: The face is still in the beginning stage, and it is at this point that I can begin to give the darker areas more defini- tion, but I don’t switch colors. I stay with the same first step flesh tone, and I hit the areas that need to be darker. Trans- parent paints will get darker as they are layered over, but don’t get carried away.
Step 6: Photo This is the stage when I start to add my second step flesh tone. I stay with my original 3 color mixture. By now I’ll add one drop of 6K Terra Cotta. This will start to give me that golden glow skin tone with a touch of pink look to it. What was not shown in this stage is the mixture of transparent opaque white I used on the tip of the nose and the cheek and shin area. I often use a soft stipling effect with white and flesh tone to cre- ate the pores on the human face. Once this is applied, I can take a soft clean cloth to wipe and press in the paper to create the pores. A soft end eraser can be used afterwards to create the lines and wrinkles in the skin….but be careful, this is a por- trait on paper. You don’t want to cut through.
Step 7: At this stage you can apply the 2nd step flesh tone over the pores and the eraser effects and see the realist effect start to happen. You can also begin to darken the nostrils and the mouth by adding one or two drops of black to the 2nd step flesh tone. Remember to darken in stages…you won’t over do it. I’ve also started to add color to the hair, but I’m still only using step 1 and 2 of the flesh tones with just a drop or two of Terra Cotta. If you notice, I have yet to do the eyes (or eye in this case). I try to do the eyes and lips last. This makes it easier to blend in the soft areas without using any frisket.
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