I apply a number of layers of warm glazes to the painting. To glaze effectively I use a small amount of pigment mixed with a larger amount of medium to make it thin and transparent. I intend to keep it warmer towards the centre, and cooler at the edges.
I leave a lot of the burnt umber showing through from the underpainting, because it’s a pleasant grey and plays well with brighter colours. I leave some of the brush strokes showing through, to ensure that there’s a variety of textures in the final piece. People usually have more reds at their fingertips, and I exaggerate that here for effect.