As promised here is the demonstration of
the video that you saw last week. More than two hours, so I decided to divide it in chapters. You see in the description the timestamps, click on it and you go to
the section that you want to see. Maybe that's a help for you. Also this time I want to say thank you to my cousin Will Sophie. Exclusively for me he composed
and played this beautiful music. That's a big help for me. You can imagine how grateful I am. Let's go quickly to the demonstration. I start with the light flesh tones. White and some Terra Rosa and my intention is to make the light flesh tones a touch too dark because it's easier to make lights lighter and later darks darker, so if you start too light with your lights then it's difficult to get them even
lighter. If they are touch too dark, let's say a touch darker then it's easier to make them lighter. That's my first light and the second light with a touch more
of Red Deep for the cheeks. And a light with some more
green in. It must be dark enough once again. But I have to make first a lighter green and I've you've seen this before. Viridian Green with a touch of ochre
makes it a lighter green so you see with this color is less, let's say less red. I think this is for the chin an I put these pre-mixed colors here so I
want to have space for the other mixtures and I always say: Keep your kitchen clean and that's what I'm doing now Because I need that space. These
are three basics for the lights. Now I make a dark one for the hair and I start with Transparent Oxide Red with a touch of green Viridian Green. That's for the dark parts of the hair. Later I can change change this color
whatever I want. Now I must make a shadow under her chin and the nose and maybe in the eye sockets I make a very simple one: just this red and a touch of this green. Well that's not deep enough so more
Viridian Green. If it's too red I can add always some green and as I told you in the other demonstration: as long as you don't add blue or black you're safe. First I give a wash of Raw Umber a
little bit of ochre and some green. let's see what it looks like and I don't want to make it very dark so maybe I will wipe it off later a little bit. Maybe a touch of blue going down and I do maybe her dress also with this
wash. Going up a little bit ochre. That's a little bit too dark. I wipe it off later. And I don't paint the wash over the arms
and her face because I don't want to have a solid background over there. A little bit of this dark for her hair. Always helpful. I don't want to start with that pure white canvas. And as I diluted it with turps I have to wait an hour before it is evaporated. First I start with the hair. The darkest part and I prepared this color for the hair. I start just covering the whole
area with a basic color. Maybe a touch more of green. now what I want to show you is when you want to end here, later you go a little bit over the edge and later you come back and that's because you
want to make a good connection. If you leave white lines you you all
meet difficulties later. Softness here and if I'm lucky maybe there is no need to come back with the background. To give shape to her hairdo because I'm not sure if I want to re paint the hair. So very softly I try to prepare some locks. Very softly I prepare some locks. Here again on the forehead there is a cast shadow of the locks of hair on her forehead and I prepare first, let's say I'm painting now the shadow, the cast shadow of that lock of hair. Later I come back with the color of the skin and of the hair itself. here also it is soft. I'm preparing a soft connection. Maybe this is not really the good
color of the hair that I need but it's easier to make dark colors, dark tones,
darker and lights lighter. So here I can easily later come back with
some darker accents. Here I'm already sort of painting as
if there is no need to come back later. Here once again a soft connection. I have to go back later with the skin color but I am preparing already the soft
connection. The magic of a portrait and specially this portrait with this beautiful hairdo, the magic is in the soft connection of this hair where it meets the background and where it meets the face itself. You see it's a very simple combination Transparent Oxide Red and Viridian Green. Also I must make a sharp edge here. Well let's say the the shape of her face, her cheek is made by the hair. So I carefully prepare that edge. Less soft than here but there is a softness. Once again I load my brush and I don't
use any medium still. Downwards the hair has some more
blonde colors So maybe I should prepare first a sort of more reddish and less paint because on top of that I will make will make some light indications and later some darkness of course. The color change of her hair over here. Come back with a darker one here. Already I can make some darkers here. I must not forget to make this connection also I want to end here so on top of that I go a little bit more down. This is the first stage of her hair. What I also need before I start with the face, I need some solid indication how dark
her dress will be and I want to let it disappear going down. I take some Viridian Green and some blue but maybe that's too colorful so I add some of this Crimson And is it good enough? No, maybe there is more more color
in. Maybe also here a softness. More green, otherwise there won't be any
green to be seen and I want her dress green. A nice contrast with her reddish hair. Maybe I should add a touch of ochre to
this combination. Yeah that's better. The softness. Here it gets darker of course because
the hair produces shadow on her dress. So this is almost invisible, this connection between these two. That's a nice combination: Viridian
Green, Ultramarine Blue and Yellow Ochre. Not too light. Let me see... There is also some blue in the lights. That's what I see now. I do this because I want to have some shifts of colors. Greenish and bluish. Go back to the more greenish one and the same time a darker one. Here it starts sharp. Viridian Green, Ultramarine Blue Transparent Oxide Red. Here is a shadow on her arm and I want that shadow to be warm so maybe I prepare it first with Transparent Oxide Red. Once again over the edge and I come back later with the form when I paint her arm. You see I keep using a lot of paint. You paint with paint, without paint you can't paint. Don't be stingy on paint. Going down here also is a shadow produced by her dress. Fantastic green dress. Now in order to let it disappear... I try to do it with turps and I am not sure how it will look like. Maybe a bigger brush... and this is also a trick because you don't really see if you're right. When do we stop? That's always. No, that's wrong so let me let me find first my long hair brush. That's a good idea. This one. I start with the shadows in the face and I made one basic shadow Let me do first some indication of the deepest darks around her eyes and that's the way I usually start. I give it a dark wash.
Let's say a wash with Raw Umber and still I can see my charcoal under drawing. Very thin and then I push it around so still I can see the form of the eye. Maybe some connection for the shadow here. That will do. The shadow under her chin and her cheek is dark but I want to make it more reddish and I'm not sure if this is too reddish but I want to play a safe game let's say, so I start this one with a fairly reddish one. It's later easy to let this change a little bit because a touch of green here
and it changes and I keep it thin, transparent usually shadows you can make transparent. The light parts you always make more opaque. Well that will do for the shadow part under her chin. The same thing for the shadow under her nose. More or less like this Some dark here and here and I see that I need a half tone for the shadow on the cheekbone and I make this out of the
reddish shadow that I have and I add some of that green. I'm not sure if it's dark enough so that has to be checked later once the whole face is painted. Also the cast shadow under her bottom lip always that shadow it's a nice accent under her lips. well this is more or less what I would say for the shadows. Maybe some shadow here. Now I go to my lights that I have
prepared. The forehead. And I must check if this is right. Well let's give it a try
now you see that with this color I go back into this one. You see, I go back into that prepared one. Maybe a touch lighter. The preparation that I did for the hair... I can always make this light tone
lighter. Here the connection. Now there is already a soft connection. Towards the temple I make it more greenish, so I added a little bit of ochre and a little bit of that ocherish green. What shall I do ? Let's do this. Then to her cheekbone and I need some some, what is it? some greyish one and I don't want to make grey but I make a Mauve one. Mauve is, you will see that, one of my magic tricks. Adding white to the Ultramarine - Crimson combination, until you can't say it's Red or Blue then it's Mauve and some of this mixture knocks down the the power of the colour here. Connecting here, here a dark one. Later I come back with some indication for the hair more but you see now I have a soft
connection of the whole zone over there. Now I go to the cheek And on her cheek usually there is more red. Maybe you remember the video that I made about
three colors zones in the face, here there is usually more red and sometimes and that's what I do now, more crimson I connect the shadow with the light part. Towards the nose I prefer a touch of
this cool one. Maybe a little bit of this green. Under her eye there is some bluish and once again I used my Mauve there. Here, let me clean my brush first, I need a warmer red under eye. The eye socket. That will do maybe the other side as
well and I make it more colorful. It's early enough to knock it down. I the whole orbit of the eye there is less color and the shine of purplish well until there. Right maybe this color also for this
triangle shape under her forehead where the nose starts. Until here On her left side, well
actually on her right side there is also some of this purplish mauve color so carefully and softly I paint this plane. Now her cheek Once again has that more reddish one. A touch lighter maybe. The connection that I prepared for
the hair where the cheek turns away, that receding plane towards the dark of
the hair I see some sort of grayish color. So that connection I must make
more gray and once again maybe I can do it with my Mauve and I need a small brush
for a good connection. Let me see if this one would do the job. Maybe with some green makes it less purplish. I softly go until that edge. And I take some paint with my brush into the face. Under the eye I need a more dark one, the
shadow part. For the time being I'll make it more reddish later I can see what I
will do there. Give me first the light part of her nose. Let me see if this one is okay. I start here with a light part. And then I go to the tip of the nose and maybe you know already I love red noses. So I add a touch of Cadmium Red Deep to
my mixture for the tip of the nose. Later with the highlight I come back there. From the cheeks here I go to the chin and there is usually less red and more gray. I told you that in the three color zones of the face. So less red or less ochre. Also here I try already to make a soft
connection maybe I have to come back with a shadow from her nose, the cheek
from her nose going down I would say why not once again a little
bit of Mauve. The mouth, her lips. Maybe I should have done that earlier already but since I'm here now I continue this first. I go also on top of the edge later I come back with the shape of the of the lips. The chin has less color. Is also lighter. I connect already here and there also with soft connection. To the other side it's little bit darker. I do the color for her lips. Which is red, white usually a touch of Ultramarine Blue. Let's see for the bottom lip. I think this will do for the bottom lip. Also where it touches the shadow, softer. Now the upper lip. Darker, more red a touch of crimson. Be careful that I don't take too much of
that stuff. I think I add a touch of that green because I don't want it to be so red. Until there and then also the upper lip has some light. Maybe more light. Later I will shape the whole thing. The corner of the mouth has this lovely accent and here as well. Now I must go to the eyes now. She has really dark eyelashes. The darkest dark that I had: Transparent Oxide Red and Viridian Green. There we go. Eyelashes produce a shadow on the
part here so I can extend this a little bit with the softness going into there. Into the zone around there. Here it´s all dark, And her eyebrow also is dark here maybe
I connect already a little bit with the forehead. Now before I paint the eye itself I make the
white of the eye first and I think there is the Mauvish combination with some of this shadow. White of the eye never is white. You see it often. People paint
it far too light. I start with the tone... My tonal value here is far too dark but it's easy to make it lighter The other side is also darker
because it disappears under her hair. Later I come back with a lighter accent
for the white of the eye and also you can't judge now because her eyes are not painted and let me do that first now so give here eyes so she can see. She has brown eyes, brown greenish eyes. So this red and this green makes it the sort of brown I think and I paint a little bit as if I'm hovering on top of that whole area I
don't want to crisp circle over there. I think that's ugly. Once again here and I connect it with the
shadow with the the dark line of her eyelash. Give it first a dark accent in the center so there is already some real eye to be seen. I don't paint the highlights till because that's the thing that I love to do in the end. There are some accents missing. The eyelid is not that dark. The upper eyelid and I want to make it more reddish. From the tear duct, let me make it more red. It's never black or blue sometimes people paint that black or blue and and it doesn't do the job really, really. Don't do it with black or blue. In the eye socket there is a too dark zone over here so mixing it with the lighter tone I can sort of repair that. Before I continue there are some
spots without paint and I really must connect the planes. Here also. Let me do that first. Here there is a connection to the upper lip, here to the philtrum. Here the cast shadow of the nostril
wing. Softness softness softness. Always softness. On the eye socket... You see I'm painting now at random where I need some accents. This is a sharp one. And it comes alive when I paint this light and maybe this one a little bit darker later. The ear. You know already ears never can be too red. So this light one and this color for the lips, that I had still here. Also connected there, Comes out of the shadow so I connect it over there. I paint the whole ear red. Going down I add more light. So it's a very schematic solution for the ear. On top of it I can make a shadow and a highlight and then the ear is painted. Now her neck and I think her neck is more yellowish. So I add more ochre to that light mixture. Is that too much? I think it is, so come back with this one. A add white to that mixture. Connect it with her dress and there is a crisp connection but I wonder if I need the crisp connection. I'm not sure. It depends also on the emphasis that I want to give in the end on her eyes. In that case I don't want to be crisp here you know. Being crisp means that you draw attention to that zone and I want the maximum on the highlights of her eyes The whole phase now is in a schematic way painted. At random I continued painting where I think some shapes and and colors need to be corrected. I think under her eye there is the darker shadow and maybe there is more of this purplish to be seen, so... Well I think that the forehead is far too warm so I must add some light and some cooler tones and you see it's easy on top of this color, to make it lighter. Lights are easy to make lighter. On top of these easily you can add
more color or more light. On the cheek there is more red. Maybe the other side as well. Let me see if I can correct a little bit
that shadow on her cheekbone. Softly I paint on top of this. Towards the ear I think it's more reddish. That's what I mean. A clear, crisp accent in the ear. Almost crimson and a touch of Transparent Oxide Red. There is a sharp shadow where the earlobe meets the cheek. It's almost always there. That one. Some reflected light from the ear itself. Once again some dark accent for the hair. Like that. To give shape to the ear and make darker the area of her hair maybe I can add one of these... Well that's not the best I think I've done. I remove this one because I'm not really happy with it. The eyebrow softly goes there and the
round volume catches some light. Here the same roundness produces some shadow over here and I extend this to there. Maybe a little bit there as well. This is a soft one. Let me see if I can do something to
the nose. I think there is a little bit more red
of there. Then, that light. The shadow side, well not the shadow side but the right side of her nose it's a little bit more to that side because otherwise her nose gets too wide. That's what we don't want. Let me make first a shadow under her nose. You see I'm painting at random and that's also important, that I don't stick too long to one place because you get blind in the end. At random I move from one place to another. The shadow part of the tip of the nose. There is some grayish. So I add a touch of this Mauve. The nostril wing has some little dark, pure reddish accent over there. Is it good? Maybe let me soften it a little bit. That will do. Going up that wrinkle, There is some greyish so I add Mauve to my flesh color. Also here's some darks to be seen. With my long , extra-long filbert, the extra-long classic Egbert that it's the name, I connect these planes and this is a lovely one for soft connections. I wanted to make there an emphasis with red but maybe it's a better idea to make it more greenish. That's it. The eye socket catches some shadow and it produces a fairly sharp form. It is softened where it turns but here it's sharp. Let me correct it a little bit her eye. I reshape a little bit the circle. Maybe the other one as well. Her eyelash on the... what's the name for it? is it an eyelash? On her bottom eyelid there are some hairs and I don't want to paint them. If I would paint them visible, really visible, all of a sudden it will look silly so I just make it a little bit darker over there and there as well. The other side as well and then later, on top of that form of the bottom eyelid there is some light. Let me prepare first the indication of some of these hairs. Her eye turns into the shadow so the eyeball, the white of the eye
disappears. It turns away so there is also first the shadow here. The curious thing about her eyes is that
there is a lot of white under the Iris. That's typical for her. Makes her eyes very special. At least the way she looks very special. You see here there is white under. It's not that that often visible. Here as well. Maybe it's not light enough but I'm... I'm very careful not to make it too light all of a sudden. I don't want so much hard crisp forms over there. I want softness around at all. A little bit lighter over there and lighter over here. Now what I said, the light on the bottom eyelid, here it catches a highlight and then this line goes there. Here's some red indication before it turns that way. Here also a reddish accent near the tear duct and a highlight because it's wet over there, in the tear duct. One highlight here. There are two but maybe one is enough and also her upper eyelid catches some highlights. Not that much. I'm not really happy with this shape. I think the shadow has to go down a little bit. But I don't want to articulate so much here, once again, so let me see if I can if I can imitate what I see instead of really painting it. There's a deep shadow. Here also more shadow to be seen. Once again I have a stop for a cup of tea. The deep shadow in the nostril is warm. Warmer then you could think. So, crimson and Transparent Oxide Red make a believable dark accent. Once again I want to make this tiny reflected light of the earlobe. It's always nice if I can put it in in a believable way. A very thin thin line. I want to start again with a clean palette more or less before I start with the arms. I don't want to continue with the stuff that was still left there because I need a clean kitchen. I ask myself do I have enough mixtures for the arms? No I need shadow. This green and this green for the deeper shadows. I run out of Viridian Green as well so I need more. It looks silly but it's important that you check every now and then if your palette still is right. That's a dark shadow. Brown and maybe
a halftone and let me have a look if this will do the job. A touch of this ochre. I need to make a new light green so
let me take this off first. This was my lighter green and let me see what... Well, maybe it's good enough. And I can change it, make it lighter dark whatever. Start with the darkest part of the arms. and let me see what brush I will take this bristle. Let me check if this is a color that I need maybe it's too greenish so I add a touch of this red, crimson. My aim is to be unsharp here so the trick is to find out to what extent I can be less crisp, to what extent I can let it disappear. I don't want to articulate here and there. Maybe I can destroy later the edge there. Here there is a reflected shadow of her hair in this part so I think that will be a less warm one and it gets warmer there. To connect later these lights were it meets the dress I need the warm warm deep shadow. Let me do that first. This was my mixture of red and green but
I add crimson because I want to make a deep shadow here, a deep warm shadow. Doing that I prepare already the connection now I can later connect with the lighter tones. let me see if this one, that I used for the face will do. I think, I make it more greenish and maybe more of the both. You see I connect now the shadow with the light part, connect the shadow with a light flesh tone. Going up I wonder if it's cooler so I add more of this Mauve. Take care for the connection because I don't want a crisp edge. I connect the shadow with this part of the light. Now I need lighter one there, maybe a touch of this Mauve. The elbow is always a little bit more
reddish, the bony part what you see. so I added some of my red, Cadmium Red Deep and then once again this mixture: Mauve and the light one maybe more Mauve, even more white. Maybe it's too dark but it's easy to make light lighter. I keep saying this: it's easy to make
lights lighter and darks dark. Always. If I would follow the information on
my photograph maybe I would say that there is more grey in this flesh color. Well it's easier to knock this color down then to bring alive a dead one. Here I connect going down a little bit. I don't want accidents. These bones, the bones of the elbow catch more light and there is less flesh, so more whitish. Maybe the white is too white what I just said, the reddish color here at the bony part of the elbow I want to emphasize a little bit more. What I also see is there is a reflected light in the shadow part of the arm. Let me see if I can introduce
that one. It's not that much but it's always nice
if we can explain that. Now I need some more darks here. I don't want to be so sharp over there. I said there must be a reflected color some green ones here. Carefully I see if I can... A deeper shadow also here. Maybe more greenish. I'm not really happy with the red, deep
shadow over here so... I have to come back. That looks a little bit better. Also here I don't see so much of that sharp edge. It's softer here so maybe that's the softness that I was after. Maybe here also the core shadow. In one of my next videos I will explain what a core shadow is. Maybe I should add more paint to give more light on this part. I mean here And in this flesh tone I can add easily a lighter tone now. Because there is already paint over there so I can add easy on top of that more. Going down a more cooler light. But I must take care that it´s not going to be too smooth. I want to see brushstrokes. Maybe I should add a darker, slightly darker line there. Something like that. This is a nice crisp accent here. I mean here. Or should I... No let me add an
in-between one. That's always the question: how to get the connection with the half-tones? There is a temptation to do it by blending, but I would try to make an in-between one. With a dry brush I must soften that strange, strange one. And there is a lighter here. Also a little bit of shadow, not that much, very soft. Let me try to add more and it's risky because I don't know how it will turn out. More cool, cool light here. Why not try to make a cool one
with this one: Viridian Green as a reflected color of the shirt. The other arm. And later I will come back to this arm but it's a good idea to start with this one because if you linger too much on this one I forget about that one. There is also a warm shadow. and that´s here. One and a slightly darker here. Now a half tone. Let me take a bristle. Should I add more ochre? Yes I want to do that. More ochre here. Until there. Not too much. Here it's really more ocherish red. Then my Mauve once again for this soft shadow, maybe a little bit more. What shall I do? Maybe I take a little bit of this one. Here there is more shadow. It gets the lighter here again. The edge is rather sharp. The turning of her arm is rather sharp. And my intention was not to be very sharp. Let me see how I can do that. This receiding, this roundness is... Maybe the dark is not dark enough but let me do first a halftone. This is the light here. Let me connect and then later come back with a color in between because I want the softness here. First let me go up with this color and the same thing with the elbow there, there is some red on the elbow and the bony part of the elbow. Let me add that later. Here I must be careful with the connection because I don't want to destroy some of these things. Going down there is more ochre here. and then the lightest part. Let me see what this does. There is Viridian Green in and also crimson and I wonder if it turns out the way I want it. Let me cover first the whole area so then I can judge more... Carefully once again with these ones. The reddish accent for the bony part the elbow, without exaggeration. I need some soft, softness here. The shadow line, the border, the contour let´s say, the contour is very thin over there so I must add more halftone. The receding plane, the receding roundness of this volume. Reshaping the arm. Now there is paint on the arm I can start with reshaping the whole thing. for instance this edge is not that crisp,
sharp so it's a soft transition. This wrinkle has more color. The light part I see there is more Viridian Green in the highlight. In the beginning I didn't see that so much. Going to the wrist the arm is more flat
over here. Here is more roundness. There it is more flat. First I thought maybe I don't do anything in the background but now I decided that I want to see some
paint here, otherwise it would look too much as a cutout paper doll. I wanted to make it a little bit natural gray. Neutral gray is... well let me first make a little bit space on my palette. A neutral gray is Ivory Black, white. There was a touch of red in well, never mind. And Yellow Ochre. Makes it less blueish. I park this here. Now I add a lot of white because I want a very... a very light gray. I check it like this. Well, maybe it's suitable. Let's give it a try. Maybe it's too light, too dark I mean and a touch warmer. You never know if this is a good
solution so maybe I will ruin my whole painting but I decided to do so so I go for it. At the same time it gives me the possibility to connect some lines of the arms That I wanted to be connected with the arms itself. In order not to have that crisp line. I wanted some softness, The same time I can reshape a little bit the form of the arm. Now I'm working here why not make
something as a sort of horizon. The only thing is that I must pay attention that this isn't too much demanding this form. What I like is what happened here, the connection. Later I can add some contrast maybe I can do this a little bit on the other side as well. Blending a little bit with my brush and then my intention is to come back with some details, some crisp... I see there are some white lines here that's what I really don't want Maybe I can treat the borders once again. Now my intention also was to make these
forms a little bit unsharp, so let me try to do that first make it softer Nope, it's not what I mean. There we are. That's the softness that
I'm after. so try again and here as well no white lines. Anyway soft or not soft, the shape of her
arm must be correct so... Something like that and here as well. This is a little bit too much. I do some corrections on her dress, some dark ones here Oops. There is some paint... Some shadow of her hair on the dress so some dark accents. Well in this stage you easily can ruin your painting but nevertheless, let me be brave and do what my intention was. I'm not sure about these two because
they stop the movement and here a better connection maybe
with another brush So this stage is about making nice connections. Not too light for the connection here and still I don't like this purplish
crimson like... Well reshape a little bit the form of
her arm at the same time softening there we are. Too much This connection... Now I think I go back to the hair and
make some statements over there. Once again I introduce some locks of
hair in the background and I must be careful because it can be all of a sudden far too much. If you see hundred make ten, if you see ten make one. On the other hand this is the decoration of your painting. If it works out well it does the job. There is some, sometimes , some arm to be seen in in these
holes the same as the background color. It can jump out so maybe I will have to
destroy this later again. Not too much there's a temptation to
overdo this. Now some of these what shall I do this
is also interesting: repeating brushstrokes sometimes are
annoying. Well at this stage it's dangerous
because well in Spanish we say: the more sugar the sweeter it will be. And if you don't pay attention all these tiny little things can be too much. Let me see if I can start with these. Once again not too much. Maybe I'm at the point of ruining my
painting. I am not sure. I add some white of the eyes. You see I'm I'm working at random I see something here's something there . I think here is more light on the white of her eye and you remember I was careful with these lights but still I think I can make it a little bit lighter. Because you know the port this portrait
is about her eyes that's where I want to have the maximum attention. That's why I want to soften this to get the attention to her eyes. The other side as well. More white here. Carefully once again, carefully, carefully. To emphasize the highlight I use pure black for the pupil. A little bit of black to jump off this the power of her... First I think I will destroy this a little bit. because it's too pushy. That's better and maybe here a little bit as well. Maybe I have to look if I can
soften even more these arms and let me see if I can make here a lovely accent. I don't want to give her that big fat arms
so maybe that's a little bit too much again It's almost nothing but all these small
details in the end of the process makes it the final touch. Also this try to soften You never know how it reacts. Oops, a little mistake. I really want to maintain the shape Again a little bit more weight because I think this is a sort of fresh air. At the other side also. I have to soften this a little bit and I do it with my extra-long Egbert, a lovely brush I really love these brushes. The other side as well I think there's a
very crisp line here. Not sure... At random I am painting some details
that I think that has to be retraced. This shadow is not really the nicest. Well what has to be done still maybe
some locks of hair. Careful, careful, careful. I'm getting close to the end and here
also the risk of overdoing these things. I should be stopping and I tell you always
stop in time but... At this stage sometimes it's so nice to
linger... I think this eye needs a little bit more light on the white of the eye and then... little by little carefully carefully you
can't be carefully enough. This portrait is about the eyes. That's what I said also in the beginning. II think I must be stopping because
I'm at the point that I can ruin the whole portrait now.
