I toned the canvas with Raw Umber a few days before and let it dry as I hate working on a wet surface. I never start on a white canvas as I like to have control of my lightest tones early on.
When I compare these first two images it is quite obvious that I tend to work "all over" . I am not sure if this is a good thing or not. I know there are so many differing ways of working. I can't fathom the method some artists have of totally completing an area before moving on to the next. I know Lucien Freud did this. Maybe I should try it sometime just as an exercise.
Getting a bit more 3D modelling into the face now. Going into the dark areas to identify colour, which is a bit exaggerated at this stage. Correcting the ear. Cool lights.
Indicating the shirt. Getting the modelling of the mouth angle a bit more accurate.
Warming up my shadows. As the spotlight is a cool light I am following the basic principle of cool lights and warm shadows but it is almost an unconscious thing now. Observation is the real guide.
Put more of a focus on the hint of "Rembrandt triangle" on the cheek on the left. Made the nostrils more accurate and firmed up the ear. More highlights on the hair. Also I have hinted at a small smile as I had made Tom look a bit grim. He did have trouble staying awake so I made a pot of tea.
Still not quite finished. Now that I can see it here on the screen there are several things screaming at me to be fixed. Amazing how seeing the image at a different scale smartens up your eye.