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Thank you, Alex,
how did you know that I had Sargent in my mind, or rather Clayton's explanation of Sargent's method ?
It's a nice painting of Violet and I see what you mean about the similarity of expression.
I can see how he laid in the opaque paint at first and then dragged a large dry brush over it to model the edges and drag one value into another as can be seen on the left side cheek and neck.
I started with laying inn the two medium values, a dark for the hair and a light for the face and neck, then modeling the big shapes of the head before painting the features.
Since I had to use the paint right from the tube, like I understand Sargent did, I might as well give the method a try.
You are also right that I enjoy the painting process and think that the paint structure is as important as the illusion.
The background was darker at first and I decited to lighten it. While shoving around with the lighter value I saw the copper coming through and liked the combination.
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