[Tito Champena]

I met Karin Wells at the recent Portrait Artists' convention in Washington, DC and she showed me the right tonality for a grisaille underpainting. Mine was too dark to begin with. After the eye sockets in my painting became darker with the glazes, the white of the eyes appeared to be too light because I did not put any glaze on them. I'm finding out that when using an underpainting, this has to be considered only as a blue print for the final work. I'll keep trying until I can gauge more accurately the values. I guess my experience could help a couple of new members who were recenyly inquiring about how this is done.