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| Each layer is treated as if it is a final layer . . . wink, wink . . . even though I know it's not. That helps as I start to develop hands or the folds in the silks. With each layer the emphasis is placed on tightening the detail, finding the reflected color of one object onto another (see the pink on the bottom of the jockey's pants, which is the light bouncing back up from the saddlecloth). The hands are treated as two tones of light and dark in the first layer, by the second layer the roundness of each finger, the reflection of the blue silks on the back of the hand, and the darkness behind the fingers start to create depth as the arm appears to float over the leg and away from the jockey's chest. You can even notice the light touch as the jockey is caught changing his grip allowing for a shadow between the whip and his fingers. |  |
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