So now you see the ongoing shading of the flesh as well as stronger highlights. Due to the pale flesh the highlights don't stand out as readily in these pics but they are there. As the original flesh work is fully dry my highlights and shadows are laid in in the form of glazes and washes to allow the colors underneath to come through the transparent nature of the thinned oils. Highlights are done with Tit. White and Cad. Yellow Medium as before. NEVER use pure white as this will cause your flesh tones to appear chalky. Shadows are produced using Burnt Umber and Brown Madder Aliz. Sometimes on faces I will mix Aliz. Crimson with the Burnt Umber for the hollows of cheeks and lip shadows as well. This is usually dependant on the scale of the figure being painted. Washes of Burnt Umber and Brown Madder Aliz. were also applied to outline/define clothing edges, leather and begin the process of painting the shaft of his weapon. These same techniques were applied to the other figure in this vignette as well.