painting flesh tones  - step by step	oil painting - skin tones work in progress (2 layers)
	Sketching the initial sketching was quickly done in a pub on a small sketchbook. I reworked it at the same format (about 4 x 6") and then I transfered my drawing on canvas through a retroprojector (this old thing used by teachers to show slides on a screen). Real size is about 36" high. I used charcoal pencil to write on the canvas. First figure shows a quick study with tones, second is the final result. Note This painting was NOT done from life or picture. Tones have been invented to complete this painting. Following approach shall not apply when working with a model since "skin tones" totally depend on how light is reflected by your model.
	Drawing/study Then I start drawing on canvas with burnt umber diluted with white spirit. The goal is to put shapes information on canvas, that's why I hatched in this strange way, parallel or orthogonal to muscles. Since I worked with no model, I had to be accurate in my anatomic description (well... I took myself as a model in the mirror so I can check muscles configuration... I know the woman looks heavy but this was the effect I was looking for) Background and layer 1 Previous drawing is dry. The goal of this step is to get a dark orange-like skin so that I can put a "half-transparent" brighter layer on it. To get my dark orange layer, I start putting an opaque mix of yellow ochre + titanium white + vermillon red. I finish with flake white instead of titanium white because flake white is less opaque. Then I ended with burnt sienna to get the dark zones. Dark features still appear by transparence, they have to be completed carefully (nose, chin, mouth...). The dark of the dress is a mix of burnt umber and ultramarine blue, background is another mix of blue and brown.
	Second layer - completing skin To paint wet on wet, I use following medium: 2p linseed oil + 1p painting medium(talens) + 1p turpentine The goal is to get the final appearence of the skin. This would be performed within 3 steps: 1. put uniformly on skin areas a wet mix of transparent colors: sienna + vermillon + a lot of oil 2. let's add some flake white to this mix to bright in a very progressive way. This a modeling step. Switch alternatively with darker areas using burnt sienna to get some contrast. 3. the painting becomes really sticky... time to really work contrast and let's be confident: apply strong tapes of flake white + yellow ochre + vermillon. Color mixing is done on the wet canvas, using the sticky current layer. Thus, adding flake white results in a brighter pink/orange. At any time, you can make the flesh tone brighter by adding more white to the wet current layer. done!
	Clothes, plate and background (the day after) White drapery is obtained applying a strong mix of titanium white + yellow ochre on a oily mix of primary blue + burnt umber. Since I found no way to "plan" drapery, it was a total improvisation on canvas (fortunately, it worked - not always so...) The plate and its content was improvised too since I had no model to do so... For the plate, I used red ocher as a basis that came darker with burnt umber, warmer or brighter with a mix of burnt sienna and yellow ochre. The cup and the paper towel where both executed modeling with titanium white on an oily mix of burnt umber and other dark mixed colors used for the plate. Glass appeared progressively adding some bright with white titanium and dark with burnt sienna, burnt umber, and other colors used elsewhere in the painting. I was first quite satisfied with this result. Then I felt I had to find new ways to get a skin which does not appear too "monochrom"... Working with a model is the right way! latest improvments in my gallery.