The dead layer has been completed, and now the colour has begun to be applied. Note the amount of penumbra, or earth-tone underpainting that is showing through the grays. I like the warm undertones, and using this technique, each successive layer depends on previous layer in building up the form/image. Use each layer to 'refine' the form, developing it slowly and carefully. You'll be surprised at how useful it becomes to use underpainting; think of the colour as being the icing on the cake. The underpainting is actually the cake; the dead layer will contain all the information needed to describe the form, minus highlights and possibly textures, which are scumbled/added on later. Very little effort is needed to complete the portrait after this stage, as the major portion of the modelling is done. The downside to this technique is that at this stage, if you need major changes, they may be difficult to accomplish. In my image Model with Red Hair, I've run into a major roadblock of having to remodel the forearm and hand. This technique requires careful planning, and is a stage by stage process, which will present real difficulties in making major changes at this late stage.