Part of my painting and drawing process involves working from the inside out. For me, this makes sense. The block-in is extremely light. Not committing to hard edges until the necessary tipping point allows for greater flexibility and malleability during the rendering. Especially necessary for portraits, as every facial feature relates to every other facial feature, including muscles, tendons, bones and the obvious eyes-nose-mouth. The artists in my class requested a painting demonstration. I rarely comply, but a class vote put me in the minority. Painting and talking is just too hard. I much prefer the tunnel-vision-focus where I can achieve the state of mushin. Pam was a willing model. The painting was finished from a photograph in four passes, top to bottom, although I will confess to leaving it on my table and noodling over it throughout the weekend. I shot photos of the progression which should be available by tomorrow. Whew!!!!