The hair is now taken up and painted with more detail; the locks are softened where they meet the face, the hair assuming rather a gray tone where it falls over the forehead. Remember also that the tone of the flesh is in shadow where it is seen through the hair, and a soft gray half-tint is found at the roots of the hair, uniting them with the local flesh tone.
At each successive painting the canvas is oiled out before beginning work, and after the first laying in, where turpentine is mixed with the colors, oil is used as a medium, a little clean poppy oil being poured in the oil cups and fastened to the palette ready for use.
After the portrait is well started, the color, drawing of the features, etc., being correct, give more attention to the expression, and when you succeed in catching just the right character in any one feature leave it alone, and do not be tempted to retouch it, at least until the rest is equally satisfactory.
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