Patmore, stage ten

Now that the darks around the figure have been established, I am able to go back into the face and start pushing those shadows.  Each form on the face turns away from the light at a different rate, so each needs to be addressed with a different value.  The faster the form turns, the more severe the shadow will be.  Patmore's nose is the most obviously sharp and large form that is blocking the light, so it needed to cast the deepest shadow.  The jaw and the barrel of the mouth are also areas that are major forms, so the shadows cast by those parts of the face were also darkened.  The side of the face furthest away from the light has previously been lost in the background, but I accentuated the cheek to really bring out Patmore's bony face.  The inner nostril is also going to be one of the darkest darks, as it is completely blocked from the light.  

The eye on the left was developed further, with as much attention given to the area around the eye as well as the eyeball itself.  Unless you want your sitter's eyes bulging out of their head, they need to sit properly in the sockets.  I also added in some white chalk on his collar.  It will be one of the brightest areas of the portrait, so it's not to soon to address it.  As mentioned previously, add the whites in gently in case their placement needs to be adjusted.  We want to be working on the lights and darks simultaneously from here on out.  Push one, pull the other.