Thank you for your kind reply. It is an interesting field, just not simple.
As to the surface: I found this material in our electronic lab. I can't say what is it, but in any case, a kind of layered, pressed plastic (used for isolation). I think it is not microporous, therefore I coated with white acrylic, 4 or 5 layers. After this, I used sandpaper (400 grit) to smooth. But the main problem is afterward, during the painting. With a few hairs (i.e., #000) the brush "scrapes" in the layer underneath. A fully loaded tiny brush is hard to control, but too little "takes off" the paint from the canvas.
Solution may be -- as you say -- a medium. What am I supposed to use? I have : Liquin, Venice turpentine, black oil, normal Medium 1 and 2, Oil of Delft, Old Spain Medium (by the way, what is it? Legend said: Ready to use medium -- oil painting.) Old Medium -- the best painting medium since the 18th century. Artistic by Jordi Reixach. The processing of the linseed oil allows a multi-layer painting without having to consider the drying time of the individual layer. Mixed with 50% balsam turpentine. Warning: content lead! Yellow fluid, viscosity like water. Drying time approximately 1 day. Is this a kind of Maroger, perhaps?)
Well, I feel it became better, as the first likeness. I estimate it's about 80-90%. I'm still not happy with it.
I found this about skintones:
Sanden's Palette
Weber plus an assortment of Pro-Mix colors:
Permalba white (by Weber)
Cad orange
Yellow ochre chromium verde green
Burnt sienna
Viridian
Burnt umber
Cerulean blue
Venetian red
Ult blue
Aliz crim
Ivory black
Cad red light
Plus ten Pro Mix colors
Mixtures:
Caucasian Skin: white, yellow ochre, cad red Light, plus a touch of cerulean blue
Black Skin: viridian red, cad orange, and burnt sienna for the middle tones, combined with cool highlights and warm tones.
Oriental Skin: white, yellow ochre, burnt umber, plus a touch of blue.
This makes excellent human skin:
Monotone underpainting -- violet is good. Terre verde over dried monotone lead white mixed with genuine vermillion, a transparent yellow for accent last.
Done correctly, these are all the colors you need.
The trick is to use the underpainted green to make your flesh go neutral. It's like magic.
I think green will correct the orange hue (complementary color). Bouguereau`s skin has relatively much white.
Now, we will see.
Best wishes,
Leslie
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