Learning objectives
■ How to use the glazing method using oils
■ Setting up the model
■ Colours and tones for painting effective skin tones
Faces have always fascinated me. I never forget a face and can see many, in my mind's eye, that I knew in my childhood; some that I knew as well as my own, others just a fleeting memory. I wonder at the unique quality of each face. I find myself wholly absorbed by the structures, the differing colours and textures of the skin, the imperfections which I rarely regard as blemishes, as I find them interesting. I look closely when I can, the broken capillaries, the redness of the chin perhaps, the different shades of brown and grey that might be tound in the shadows around the eyes. In art galleries I have for as long as I recall been drawn to painted portraits above all else. I will often get as close as I can to a painting (without setting of the security alarms) and work out exactly how the painter worked, and I'll follow the brushstrokes and imagine myself working on
