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Page 6 of 8
Unfortunately, I did not take any photos of the tostadas as I was working on them, so you get to see just the two finished versions. One is more subtle, without the darker shades that make it look burned. The other is more detailed, with detail coming from deeper shades of color that define Armadilla's lovely features. Here was my general approach:
First, I put some iron oxide yellow on a brush, and lightly dragged it across the entire surface of the tostada. I didn't want to fill in every little depression in the surface, I just wanted the raised areas to get darkened up a bit. Next, I blocked in the major areas of the face with a lighter color, I think it was raw sienna. Again, the goal was not to completely cover the surface, but to lightly scrumble the brush over the surface. I wanted it to look like those raised portions had been cooked by some unseen miraculous force. Then I darked up the areas under the nose, on the chin and lips, the cheekbones and the forehead. Used raw sienna again, but with another, darker color. Then I did another, even darker layer, to define the shadows of the mouth, the eyes and the hair. I wanted this layer to be dark, but not black.  To finish up, I needed to create the effect of charring on the tostada. So I dragged a brush with Payne's gray along its edges. "Go easy on this part," I told myself. "If you overdo it, it won't look burned. It will just look like some dumbass smeared paint all over a tostada."
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