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out other aspects of the composition, the shoulders and torso, the lay of the arms. Any dramatic clothing or props. Rough in the features. And then, if you're anything like me, you need to turn it around and let it face the wall for at least a few hours. When you look at it again, do so with fresh, critical eyes. You haven't put much time into it at this point, and if the paiting would flow better with some tweaking, now is the best time for major revisions.

Once you're havppy with the effect of the overall composition, you can begin painting in earnest. Each medium has it's own challenges and benefits, and you are obviously much more familiar with your working style than I am, but I like to begin with some loose highlights and shadows, just enough to begin to define form, and then move on to the background for a while, to really make the subject "pop" and to make sure my negative spaces work. After that it's a matter of proceeding in your own way of painting, whether that means slathering on the paint in rich, tactile strokes, or more careful, gradual applications and glazes. Just remember to step back and really "see" it again periodically, and use the reference photo! I can't tell you how many times I've been delighted at the details a photographs can capture, and that I can then paint- the way one side of the iris of the eye is usually lighter than the other, depending on how the light falls, light reflecting up from the planes of the chest into the shadow under the jaw, the fine halation of transparency that surpirises you around the ears and fingertips.

Best wishes and happy painting! And, one final thought- it's practice that makes perfect :D

Learn more about this author, Kellie Hall.
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