I'm trying to establish some pigment mixes for this painting while gaining familiarity with various pigments and work in proper color. In other words, this is a fantastic exercise.
This board, rather laden with pinholes, will accommodate another face and I'm treating these as experimental. Boards from TrueGesso, which we used in workshop, are on their way. Although they had a few pinholes, they were small, and the boards had a nice feel.
I will push this painting along and document my pigments for the next try. So far it's been mostly yellow ochre, burnt sienna, and raw umber, with a bit of quinacridone magenta for the lips. At this point, I feel that I need to move parts of the cheek shadows into saturation--reds and oranges. Also realized that I need to establish a tonal range and that there are very few places where white is used. White for highlights only. It's all seemingly obvious once I see it. Again, this is all a really fun time learning--as long as I keep that infernal internal critic at bay.