my technique is based on the alla prima technique.

I'm looking for that fresh, single, strong brushstrokes rather dan

the glazing technique.

I take my time the real painting of the portrait in oil starts tomorrow,

so at ease I can do the underpainting.

A small window that

enables me to concentrate on the colours

that I gonna make.

I take some oxide green, chromium oxide

green and once again

I have a look.

and after finishing the first layer of

the hair I blend with my fingers the hairline

to connect later with the background.

I need a lighter and a cooler hue so I add white and mauve,

In my portraits almost always I

I want to draw a maximum attention to the eyes.

So I ty to make that zone the most

active place in the painting. How?

Noticed that there is no paint on my brush.

I'm pretty sure that chaos on your palette,

and chaos in your hand is a reflection of the chaos in your head.

On the lower lip I want to settle the round form

and I add a touch of red.

I have retarded a long time,

But now it's here: pure white for the highlights on the eyes.

These are the key part in the painting that bring alive the person.

And I want the red of the colour of the shirt that I painted yesterday,

comes shining through.