Good Morning
Lil Fairy…
Age spots, made by useing big broad brush, with light spotty texture when applied,
very light brown color. I just kind of dabbed, and dragged it here and there, heavier
in shadow areas, lighter touch on lighter areas. Reduced size of brush for smaller surfaces
like nose ect… covered entire face, and head with this very light texture…more in some
places, less in others.
On the eyes, I bounce back and forth, searching for colors, picking them off the color
wheel, to try to match the colors in the eyes that I see…lots of colors in those eyes.
Use medium size brush at first, and end up with smaller brush, the further along you go,
until at the end, you have a fine detail brush, that you use to pop the highlights in with.
NEVER pure white, there is also a lot of color in highlights…look very closely, and you
will… SEE…!!!. Soft in some places, crisp in other places…Just put one color on top
of another…tint on top of tint, gives eyes, and entire painting actually, depth and
luster… Also one eye will usually be lighter than the other, due to lighting source in
reality.
I rarely use blenders,…they tend to flatten things out, and destroy the painterly look
im am after. THAT GOES FOR AIR BRUSH TOO !
I prefer to see brush strokes on top of brush strokes, with underlying colors showing
thru. This gives more depth, vitality, and expressiveness to painting.
In the end, you should be able to see the artist hand at work in the painting, or else
you might as well just take a photo, and save yourself the work and pleasure of painting.
There is a brush in the tinting section, at botom of the list of brushs, called SOFTENER…
It’s one of my favorites…softens things, without blurring too much, and destroying the
color relationships I have built up in the painting.
I see you fixed his shoulder level, where it meets the neck…GREAT…That’s a key element
in painting older people,…Their head is always below their shoulders, gets more extreme,
the older the person is.
You’ve done a really nice improvement to him so far…GREAT ACTUALLY…
You might want to reduce or narrow his jaw muscles a little, and put darker shadows there.
also broaden diamiter of his skull, a little. Study an egg, and you will see how it is broader
at one end. A face and skull are very simaler. Also study how the light and shadows appear
on the eggs surface. Put it under a lamp light ect., to get a sense of how the light and
shadow gives it, that volume that your eyes,…SEE…!
Lower top of ears a little, …More shadows in and around eyes,…under chin on neck,and
outter edge of most of skull and face,… and under nose ect.
Also pay close attension to the forms created by the muscles, on his brow and between
his eyes. These muscles are key to his exspression, and it is very important to get them
RIGHT…
In the end, observation of detail is very important…but it’s not the putting down of
every detail that creates a great painting,…It is more to do with the feeling you as
an artist put into the details, that you do put down. To capture the essance of what
you are creating…be it in… Paint…Clay…Marble…or whatever medium you decide on.
This is the true objective of ART, and the ARTIST…
Well thats about it for now. Let me see this portrait, when, and if you decide to take it
further…GREAT JOB SO FAR…BIG IMPROVEMENTS…
I just wish I could be there, leaning over your shoulder, to guide you in the right direction,
as you learn to PAINT…Would be a lot easier for me, than doing all this typeing…LOL !
Have a GREAT DAY…and …HAPPY PAINTING…
Keep it fun if you can… after all, it is only paint, or in this case, the illusion of paint…LOL
Take Care
Glenn
I can’t see the first image you posted due to a message ‘mature content filter’ ~ will try to tweak my settings a bit later, perhaps it’s something on my end. 
