Painting 33

Tonal simple skin study in a dark and in ligth background

I always do a tonal study before progressing to the finished work
I started with an approach color impasto underpainting and begin to wash in large áreas of transparent color, developing the underpainting with average tone and rhythm and gesture of the pose, rigth after I will move on to adding opaque paintings , I´m conscious of my edges, wet into wet as I render the figure, adding background elements to highligth the figure taking into account always the effect of ligth that falls on the subject for the dark figure ref PO645;  I add glazes of color to the background, keeping my darks very transparent, skin tones are for me a work in progress the main differences between these two paints are:
basic flesh (gold ochre; cad scarlet; titanium White )
            dark shadow; ( ultramarine blue, cad.orange)
            ligth shadow  ( cerulean blue, carmine, violet)
body main features; raw,and/or burnt sienna)

                                      ref; PO 644

                                             ref PO645