In the picture below, you can see where I have started to glaze a mix of raw sienna and yellow ochre into the model's hair. The hue deepens with addition of the glaze. The strands of hair drawn in coloured pencil is still visible through the glaze. The work I had done on the skirt has also been done to the tunic. The shadows are a bit exaggerated so I don't lose them as I build up the rest of the colour. At this point, I've done nothing yet to the skin tones on the face or hands other than what was originally put down in coloured pencil.
As I work more on the face, the goal is to first get the colour mix under control with the idea of getting it as close as possible to the model's actual skin tones. The coloured pencil actually did that quite nicely. The more challenging problem is to do that with the paint because when I am finished I want to be sure that the viewer is drawn towards the model's face. At the time of this writing, I have not yet attempted to work another layer of colour pencil over the paint. If I like the results of that, I'll use the pencil to smooth and blend the face. If not, I will continue adjusting the mix until I get it right. In order to achieve that, I will test out the mixes on a separate piece of watercolour paper and hold them next to the face to avoid the risk of overworking.
The next entry will focus entirely on her face.