I handled this portrait in a much different way . . .slowing down still more and thinking about design as well as color. . . .one might even say with more ‘sensitivity.’
Using an old technique (and some old manganese blue pigment) I hadn’t used for some time, I first defined the shadow shapes ( in this case one large shape from the top of the head all the way down the face onto the shoulder and off the page) with a huge brush, put down a granulating manganese blue wash. While it was still wet, I began charging in yellows and various reds and allowing them to run down the page (the painting was at or near 45 degree angle) over the granulating wash. That set the stage for lots of color variation and warm / cool transitions. After that wash was dry, making small glazes over small areas to darken and enhance differences in light and temperature. The eyeglasses are a great example of those sorts of subtlety. The end game was to resolve very subtle value and temperature changes in the light areas. The white shirt, for example was left white until the end, when a clear water wash was painted over much of the painting, but leaving the light on the face completely alone, which softened edges, improved transitions and knocked the white back enough that the whites in the face light ended up as being slightly lighter than the shirt.
That’s a long winded answer to how it was done.
And speaking of ‘done,’ I am soooo done with self portraits.
Oh! I forgot to mention that lump on my head. That’s where my wife smacked me for spending too much time in the studio!! ;-)) (Sure, Mike !! )