In this next step, I have blocked in the darkest tones, and mid-tones beside one another on the muzzle, under the jaw and cheek. I used a darker mixture of the payne's gray and burnt sienna, and for the mid-tone lightened it with some of the perm. rose, blue and some white. I may have used a tad of the raw sienna...unfortunately I don't remember exactly what I did...I just mess around with the colours on my palette until I get what I want. I'm not afraid to try mixing various combinations of colour and then putting on the canvas. If its totally gross, I wipe it off.
With the two tones painted next to one another, I then clean the brush I'm using and scribble the two together, at right angles to the original brush strokes. Then if I want a smoother transistion still, I'll go at it again, blending at a right angle to those strokes. I like to work my paint from light to dark, or dark to light. I don't paint back and forth into the different tones, as it can result in mud.
Working into the face more, I started to use the lighter colours like the Naples yellow, raw sienna, and light blue, blending as I go. Buckskins can have some greenish weird colours happening and I constantly had to cross reference my photos to be sure I was on track. This particular horse, has some masking on his face, which created a funny looking dark streak across his cheek, but I couldn't *fix* it at this point. I try to be patient, and not overwork the paint. I let it dry most times, and clean thing up later with glazing or dry brushing or just painting out the offending area.
Its really a treat to see the little flashes of the warm colour peek out, that I toned in at the underpainting stage.