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Perhaps you might want to elaborate on the two very different processes at play in your portfolio work and your portraits-from-life work. The underpainting, by its nature, seems to result in a much higher degree of 'finish', n'est-ce pas?
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It's true. I am an underpainter by nature. Further, I am a pickey underpainter who likes his underpainting to look just like a finished work - thank you very much. It was a wonderful way to start, but it is proving harder to leave. Even when I work directly in color without a monochrome underpainting I still hear the voices..."tighter, tighter...blend, blend..." they say.
So, this method of broken color was just what the doctor ordered. The thing I admire about this method is that you begin quite loose and free and gradually bring it up. This allows you to leave areas more unfinished and bring things like faces up to very tight finish. This adds variety to the work and makes it more interesting, IMO. Bill does it very well and you can see it in a lot of his works. Chris and Linda do it well too. I am trying to use this broken color method to teach myself how to make things more loose in my work.
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