None of the result is to be considered a finished stage.
Today's starting point looked like an initial 'painted sketch', the drawing was very approximate. Slight touches of quick strokes, mostly glazing rather than heavily painted. Now it was time to fine tune the drawing, and to add paint to it in order to show volume.
Whether using glaze techniques or working with more heavily paint strokes, it is important to always start with darker colors first. and only then to apply brighter colors, especially on a still wet base. Trying to do the contrary would result in turning dark colors into ugly grey, kaki or any other unexpected pale color. It would also take a much heavier amount of dark color when trying to darken a bright oil base that is not dry.
But when I say I need to first apply darker colors, it does not mean dealing with just black or even brown, it really means dealing with darker color than the one to be used on the spot right next to it.
So even if I am only working on a bright spot, I would always start with a tinted white before applying pure white brilliance effect.
In order to bring volume to a painted face there should not be any large surface with similar color. A face is no flat surface, and even aside the fact the skin itself may have its own tint variations, you can say that almost every square millimeter is exposed to slightly different light conditions, light reflections, and brilliance. This how it came today:
As a result the face is showing a way more intense and emotional look. Hairs show more detail and movement. Leaving it drying for a week is necessary before I can work in this area again.
I finished the day, adding details to the brown horse's open mouth:
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