Imprimatura. Toning and Sketching

The idea behind toning the canvas is that it provides a consistent middle value, and will contribute to the final image a subtle presence. In this case, the canvas is toned  with Indian Yellow, followed by a wash of burnt umber.

The figure is then loosely sketched in monotone with burnt umber. The purpose is to make a start, to check the composition and establish the proper tones.

The canvas is allowed to dry a week or two.
"Dead Color" Stage

At this stage, the figure is modeled in the so-called "dead colors"- in this case Ivory Black and Burnt Umber, Flake White, with a modicum of Venetian Red.  The point is to develop the figure as fully as possible in a grisaille or a grey tone. Colors should remain somewhat middle toned, although this one is tending very dark already.

This stage may take weeks to finish. The canvas is given some weeks to dry.
Coloring and refinement

The main color notes are developed here. There may be extensive refinement of the figure and background. In this case, the face was reworked considerably. Lights are lightened, darks darkened. Details are introduced but not finished.

This stage takes as long as it takes. Usually weeks or months.
Finishing

Final adjustments are made. Details are finished. The colors are developed to their ultimate fullness.

Glazing is generally done at this stage, if there is any. In this case, the blue of the scarf received several layers of glazing until it glowed darkly.

The portrait is allowed to dry for several months before a final varnish is applied.

In the end, this looked less like me than the original sketch. But I was satisfied with the idealized result.