Got a little more done on the ebauche (underpainting) stage. It's a little tricky using oil paint likes it's watercolor, but I'm starting to get used to it and I'm digging it. I got to give Tony Ryder credit this ain't easy and mine doesn't yet have the form logic of his ebauches, but I'm trying my best to make it work. My idea is to keep the values darker and grayer until I roll up to the more intense lights around the cheekbone. I'm also trying to nail any microforms I come across as well as looking for larger pathways of form that the light will use to connect the various planes. One way that I differ from the Ryder methds is that I carefully mix up color strings with a palette knife before I start to paint. I do end up doing some brush mixing anyway but I prefer to have the string as a base. I'm working on a 9'x12' Utrecht oil primed linen on board which I'm enjoying more than I thought I would. It responds pretty well to the paint.