This slide show will show the progression of the painting up to date. There has been negligible additions since the last post.
On a personal note, the accompanying soundtrack is a sound bit of my son playing the Beethoven concerto at a concert in Melbourne in 2015.

With the zip completed and some highlights added to the hair, the portrait is almost complete.
I am considering adding a little more tone to the pillow and more intensity to the shadow across the face but have not made a final decision on this yet. I may wait a couple of days before finally deciding, as I think that living with the painting for a short while and looking at it away from a painting session will give me a more objective view.

Though it is not very clear in this shop, I have added the second press stud on the extreme edge and started to form the shape of the zip elements. I also changed the tone of the book cover slightly to give it a more even coverage of paint tone.
The real sunlight is casting a ray of light across the bottom left of the painting which 'washes out' the tone of the paint on the edge of the canvas, but that is the nature of my studio in the mornings.

I have suspended work on the face for the moment and have begun to work on the details on the hardware of the jacket. One of the press studs completed and a start on the zip. There is a disproportionate amount of time needed to be spent on these details, which don't make a dramatic difference to the work, but it is these types of detail that I find take my attention and give me pleasure when looking at any painting.

I have altered the upper profile of the face considerably to better resemble the subject. I have been unhappy with that aspect for some time and decided to 'bite the bullet'.
I used a quick drying white under-paint, tinted with a little colour, on the face edges and in the stronger colour of the background. It has the effect of making a 'hard edge' which makes him look almost superimposed, but this will be negated once it is dry and I make minor adjustments by adding better shadowed flesh tones over the top. The left photo is from yesterdays post and the right photo the adjusted one. Naturally very minor adjustments to this will occur as I continue to work on the details.

I have continued working on the jacket texture and shadowing. It will need at least another two sessions and then maybe a few touch-ups at the finish.
I changed the edge outline of the bright white pages to the left and darkened toe separate cover page to the right. I may still darken the cover itself so that the sunlit part of the face will have more 'pop' as many people seem to describe a larger contrast between areas.
I am not happy with the top face profile, which is not correct for the subject of the work but will give it more thought before i make the alterations.
Because of the light in the room, the background in the top left of the painting appears brownish but it is, in fact, black.

The jacket texture progresses. Whilst it is representational, it is not acute photorealism. There is an element of impressionism in the texture, but having said that, the direction of the texture has to look possible or real according to folds in the fabric and the shadows created.
The pattern of the weave is quite definite in most areas, but there are some areas where it is not very distinct.
Some more highlights and filaments of wool have been added to the collar.

I have continued with the jacket texture and blocked in the under-paint to the zip and studs. Some texture has also been added to the collar of the jacket. I want the final texture on the collar to be highlighted with white with strands of the lambswool contrasting with the darker areas of the jacket.
I have added another layer to the background behind the face giving it a bluish hue but I am unsure at this stage if I like the this hue or if I prefer a slightly more green-blue one similar to the book cover.
It may not be noticeable, but I also took a few millimetres off the face profile. I may also need to take more off in the future, before I finish the work.

With a start on the coat fabric, texture and colour, this area of the painting is beginning to make sense.
There will still be some shadow tone and highlights to the section already started and some fine texture to the lambswool added when touch dry.
I shall continue with the coat, and add the large press studs and zip on completion.

The rough underpainting of the jacket is now complete with the fabric texture and small areas of colour to be overpainted when dry.
It is a very textured 'winter' coat and will provide contrast with the smoother texture of the face.
I have shown the stage photograph to a few interested friends and they have shown a tendency to want to turn the picture around to make the face upright, but this is a painting where he is lying down, head on a lap and listening to the story being read. In this sense, the portrait is also telling a story.
The pages of the book shown on the left are in full sun and very well 'lit' and it concerns me a little. I want it to appear very bright in the sunlight but I also want it to be recognised for what it is. I may add more of the 'creamy' suggestions of page separations at a later stage but I suspect that I shall leave it until the end to make the final decision.

I think that the book that is being listened to is now obvious to most as long as you recognise the colour and the 'ear'!
Of course it is the tales of Peter Rabbit.
Only very slight adjustments will be needed at the end of painting.
I shall add the 'almost white' area next, which has a little shadow on it from the head. It is this little shadow that will help it to make sense in the composition.

The book is beginning to get the feel that I am after. I am not attempting to paint every page but to just give a suggestion of pages. There is more light on the top page and I shall add some more light 'creeping' in on the far left edges.
Some adjustments need to be made to the edges of the upper pages and the section of the pages in full sunlight will be almost white with little suggestion of the colour of paper.
After the book is complete I shall start to add texture and form on the jacket, leaving the refinements to the portrait itself until last.

I have added the underpainting to the book pages that are in shadow.
Stage one in the top photo, and stage two in the lower photo. Also in the lower photo, the underpainting to the lambswool collar has been added.
There are a few more stages, with refinements of tone and line still to be added, along with more glazes of paint on the face, in particular in the shadows.

I have given the background its second layer and added many more tones to the hair.
I will need to allow the hair to dry before putting in other highlights, so I will continue with the foreground in the next session.
I always feel that a photograph of a painting makes it look better overall but it can also highlight faults, so it is a great tool in this respect.

I have started to add hair texture and the underpainting to the coat.
I am not content yet with the hair tone, but this is only the beginning. I don't paint each hair, but will add a few single fine hair strands on top of the texture and on the edges of the head when complete.
The background will need another layer too with some details in the shadows.

More tone added to the shadow part of the face along with minor tone changes to the mouth. I'm getting closer to the effect that I am trying to achieve but not there yet.
I shall begin to add the first layer of hair soon along with the mid-tone underpainting to the jacket.

Whilst I have added extra tone to the mouth and teeth, the shadow section of the face and the dark underpainting to sections of the coat, I was not feeling that the portrait itself was as close a resemblance as it should be.
I pinned it down to the shape of the cheek and chin and so, I adjusted the profile in this area. It will still need a little refinement when dry but I am much happier with the adjusted profile. The lower picture is the original and the upper one the adjusted one.
I think that part of the problem in seeing this is the fact that, although it is a portrait, it is not a conventional upright pose. Note to self: rotate the painting occasionally to view the image in a conventional upright pose.

 I have added some colour to the mouth which helps to convey the expression.
Darker flesh tones have been added over the pale underpainting which can be seen more in the lower photograph.
I am now beginning to enjoy this painting. I am always a little apprehensive when I start a new work which is probably why I am such a slow painter!
There are many tones and details to be added in the hair and face yet, but I may under-paint the coat/jacket in my next session which is the large area just below the mouth. This coat casts a shadow on the lower part of the face which will be an important part of the composition and will add dimension.

The shadow area is mostly blocked in. The colour is very neutral at the moment, and will need a number of layers to achieve the right tone.
The tones will need to suggest the perspective, as the top edge of the face will need to recede into the background.
As an artist, even with experience, I am always anxious that the painting is a success.

The underpainting to the hair is quite textured with crude brushstrokes, but this is intentional, as when the hair texture is added it will provide the variety of tones that occur in reality. Even areas of highlight over the top of a darker background will add 'depth' to the image.

 
Slow progress, as I have been busy with garden landscaping, but I have added more detail to the right eye. I shall add the underpainting to the hair area next as I work my way around the head.

I am adding some of the basic flesh tones in the lit areas but more contrast will be needed as it progresses. I have a W&N preprepared flesh tone but only use it to add to the whites and yellows to make a basic flesh colour of my own. When I want to deepen it I also use Burnt Umber, Alizarin Crimson and a green biased blue. The use of complementary colours in facial shadow is well known, and, in some modern portraits, exaggerated to great effect.

I have added some flesh tones around the right eye and will continue along the right side of the face which is lit. The left side of the face will be in shadow.
The tones are only a first rendition and will have to be adjusted as I go along

Even though I am doing another portrait of Christopher, I decided to post a slide show of the progress of my last portrait of him.

A short 20 minute session today.
With a portrait, the eyes are the 'window' to the character and personality. They show what the person is 'thinking'. This is why I like to block in the pupils of the eyes early in the painting process. Naturally, once dry, I shall refine them in tone and colour.

The book is becoming apparent now even though the coverage is just the under painting.
This is a square painting but I have still tried to make the composition stable with a suggested triangle using the book as the base and the face as the rest of the triangle.
There will be a band of sunlight across the composition from right to left lighting the top of the book and the lower part of the face.
Having the top of the face in shadow will add dimension to the portrait. I haven't decided, yet, how dark the shadow will be.
When I am beginning a painting that I find challenging, I take a long time looking at it, and thinking about it between sessions and, if I am truthful, I am always a bit anxious about it being a successful work.

I have finally put paint to canvas. I was unsure with this composition, where the subject is lying sideways whilst listening to a story, but I like the 'gravity' that the book provides at the bottom. The background will be much in shadow, as will the book itself. The only hint as to which book it is, will be the colour.
The teeth are showing, as the mouth is slightly open, but they will not be as prominent once the paint tones are applied. He is wearing the same jacket as in my previous painting of him, which makes great contrast of texture with the smooth flesh.

I have begun to recover from a bad dose of the flu and, so am making plans for my next portrait. It will be another of my grandson but with a slightly more 'happy' face. I will be using a square composition, which is unusual for portraits but I like the challenge of making it work.

 
I have added a little more detail to the watch and adjusted the angle of the arm, which was previously at an angle that did not appear quite natural. A little more 'smear' on the watch and adjustment of  the angle of some of the background to make them more uniform and I may have finished!

I have added highlights to the hair and movement smears to the top of the head and scarf. I had considered doing some movement smears on the face but have decided against it.
If a comparison is made between todays post picture and some previous ones, a change in the cheek on the left of the painting would be evident. The subject was a little uncomfortable with the prominence of it, so I toned it down. I'm inclined to agree. I cannot say that I won't alter the tone again but I'm happy to leave it as it is for the moment.
Next session I shall add detail to the watch and make minor adjustments to the arm

I have added tones to the hair, detail to the other eye and begun to work on the arm and watch. My wife wears this watch frequently, which has a strap that is a little too large, and so slips around her wrist. Adding small details like that add to the 'personal' quality to the work.
There will be highlights to the hair, and more refinements to the watch added over the next few days. I am still undecided how much 'smear' to add the feeling of movement I shall add but I shall start on the scarf and work from there.

I have started to add tones and details to the face. I don't find many paintings, where the teeth are showing, that I feel are successful, so it is with trepidation that I approached this pose. I have tries not to make them too prominent. One of the biggest problems with teeth in paintings and drawings, in my view,  is that the spaces between the teeth are over worked and become too dominant.
I shall work more detail and contrast into the eyes in my next session an, perhaps start the build up of hair detail.

It may not be obvious in this shot but I have spent the last few sessions adding some fabric texture to the scarf. Once dry, I shall add smears of light to indicate the movement.

This stage is where I am starting to build tones on the face.There are many layers to go, and more blending on the flesh. The eyes and mouth will be refined and, for the first time I shall paint 'teeth'! I have seen many portraits where the teeth look ugly and do not add to the beauty of the person. I don't want this to happen to mine. (My wife wouldn't want it either!)
I am not yet satisfied with the base colour of the hair but I shall consider changing that in another session.
The watch is an enigma too. It has slipped around the wrist a little and is almost worn on the inside of the arm. I had considered painting it in the normal position, but liked to be able to see the watch face and so will leave it where it is.

Three stages of blocking in the basic tones of hair and face. There is much to do with tones and contrast, along with the minute details that refine the 'likeness' which is important to the subject.
A person is not happy if a portrait of them is not a good likeness. It is also important to point out that, when we look at ourselves in a mirror, we are viewing a reversed image. In most humans, the left and right side of the face is slightly different, and this can leave a slightly false impression of how they look in their mind.

How often do we look at a photo of ourselves and not think that we do not resemble the image we have in our mind.
Another point that artists will be aware of, is how different we can make a painting with just a slight change of tone or angle in the shapes.
I am not an expert at portraits, as this is only my fourth attempt in my artistic career but I am learning fast!

I shall leave these areas for a few days and work on refining the shapes and tones of the scarf. I shall add the highlights of it at a later time which will give a better impression of the texture of the material.

I have added some 'blue' overlays to the bag using some transparent white, ultramarine and winsor blue. There are a few minor bits to add once the area is dry.
The scarf has also been blocked in with many tones and texture details to be added as I go. Again, I shall add smudges when the scarf is complete. If this area is not ready for me to work on tomorrow, I shall start to add the 'brick' texture/pattern to the background.

 The bag texture has a woven appearance with a 'herring bone' type pattern, though it is not very distinct. Once finished and dry, I shall add some transparent overlays of blue smears to keep it within the 'movement' theme. It is a fabric bag, and therefore does not have a rigid form.
I shall also begin to block in the basic pattern on the scarf.

I have added more detail to the insignia of the gondola. I am using conjecture, but I am presuming that each gondola or gondola fleet will have its own individual insignia making the actual boat traceable. I would love to know what the significance of the insignia is. Perhaps, on my next visit to Venice, i shall investigate this.
I shall work further on the bag over the next few days.

I primarily keep this blog for myself in that it is good for me to examine my plans, methods and reasons with each painting. In that way, I can learn and make progress. Wouldn't it be wonderful if some of the masters kept a blog about their work. We would then not have questions about Leonardo's intentions in the Mona Lisa or we would have Michelangelo's thoughts on anatomy as he was preparing for a masterpiece!
I don't want to give the impression that I compare myself to the masters of the past but it would be comforting to know that my work means more that just another painting. I am not sure if many people actually read this anyway as, even though there are recorded 'views', there is never any response to the work. Also it disturbs me that, when I go into the statistics, some of the referring sites seem to link to sites that are dubious in morality and have no connection to fine arts! I shall continue to complete it anyway!!! As can be seen in the photograph, I have blocked in some areas in the lower section. Once dry, I shall add detail and vary the tones as usual. The boat insignia is quite rich which I hope to accomplish as I continue. The grey areas next to that are the fabric of a handbag which needs the texture of the fabric and overlays of tone.

I am making progress albeit slowly, as is my usual m.o.
One of the advantages of doing this blog, is that it shows me where I need to work further or where I have made errors. For example, the streaks of colour which are to suggest movement, need to be at the same angle to 'ring true'. In some of the coloured bands of blue/purple, which I did separately, there was a slight difference in angle, which did not look right.
After photographing the painting for the blog, it showed the obvious fault, and I was able to correct it before I had finished the session.

I have added some tone and texture to the ledge under the elbow. It contains decorative chord and fabric but I still do not want a static representation hence the smudges. The are still many layers to add to this entire area and I have decided to complete the background before I start on the face. I shall add smudges from the face and hair over the background.
This is something that I have not previously attempted, as much of my work, particularly in watercolour, is photo realistic and, I suppose, there is a little trepidation in trying something new.