yea, first of all, just some thoughts on what you’ve had to say on flesh.  i feel like i’ve made some strides forward in this field recently so i’m gonna give my 2 pennies worth. 

you know what i think about you using acrylic, it’s all well and good but i still think you should use oil for the final layers of the work particularly when painting flesh.  i think that you have a desire to create a style of painting that reaches back into the rennaissance past whilst speaking of the present, but i think you can only get the subtlety that perhaps you desire but which you’re denying yourself, through oils.  for example, how you stated that you lay down the tones then glaze over the colour,  i tried this for ages, because of the teaching from uni, but i think that its better if you lay down the tone, then still using solid paint, painting up the colour but rubbing back where needed, back to the white.  this gives the effect of the light, just gently shimmering through the the skin.  you can experiment with how you lay down the white as well, sometimes rough sometimes smooth, this then creates different effects when you rub through to it, but you need to use oil to do this, because the transition from opaque to transparent is a lot smoother and with the slower drying time it allows you to do this.  then the glazes go on top of this to make necessary adjustments to the pitch.  As for the colours i am using now, i found out that titian used rose mixed with white, which is surprising because it makes a really sugary sweet pink, but if you use this as the high pitch it sits forward really nicely against the more smokey alizarin and yellow ochre/naples yellow deep.  you said you’re going to use bluer hue for the shadow, but try using alizarin for the deepest parts because i’ve found that a little blue goes a long way, just captured on the edges of depressions has a great impact. for cooling i tend to use cobalt or cerulean, but as a glaze terre verte works particularly well over alizarin, and i quite often use this for subtle effects just after the tonal stage, before colours are applied.  As a glaze i also find burnt umber quite successful, i’d use this as the 1st glazing stage, settling in the pits and crevasses, then the yellows as the final stage if you feel it needs them.

I’ve pondered whether to write this, because as you know its important to allow somebody to find their own way rather than pushing them onto yours, but i feel somethings may be of use,  dunno how much, you probably want a completely different look to what i’m describing.

 As for your new work, i’m not sure about success of the 2 they want to have fallen works, the cutting up into 2 parts, one heavily worked the other left almost alone worked really well in the horse image but seems a little contrived here. 

but on that daler boy something is working, the clean drawing of the diver sits nicely against the rest, it appears almost like the temptation for intellectualised, logical thought is fighting against nature, this is something that could work for you, and through knowing you, is very much a part of your personality.  Perhaps you should look in depth at R. B Kitaj, as this is something i also find in him.  His narratives are almost absurdly complex yet they are lightened by his charming questioning style.

But i’ve got to say, i still have real issues with this thick brown/orange glaze you seem to like so much.  i don’t know whether this is how it comes, or whether you add colour, perhaps trans yellow oxide to it but i don’t like it, i think it looks dirty and not necessarily contemporary.  this i’m sure is down to the acrylic again, perhaps alongside using too much pigment as trans yellow has incredibly strong tinting powers.  acrylic seems to drag everything into a flatness when what you are actually wanting is something that is crystaline and retains its appearence of fluidity.  I also think it shouldn’t be used straight on the primed canvas or tones but that there should be solid colour painting underneath.  I remember someone at uni saying, the sign of a good painter is someone who can paint  wet in wet, and this is something i think that would improve you loads.  a lot of your work appears to be using the watercolour techniques of working light to dark, but sometimes it would be good for you to go to the rembrandtian, work from the brown into the light (i’m thinking of the bottom section of diver here).  To give the bodies of objects a solidity, which is something that you are lacking.  even when you look at Doig’s ghostly figures, they seem to have some impact on the world around them.

Your sketches are some of the strongest things you’re doing at the minute, but there’s not too much i can say about them, they do exactly what they say on the tin.

One other thing which i think could push you on is to pay more attentiion the accuracy of your observations, to make a space more real, without giving too much depth if you don’t want, is to consider more closely the lines between objects, how objects tie together on the tapestry of the image, whether there is lightness inbetween or dark.  also, when considering the tone, to consider the tonal relationship of the whole rather than each bit as separate.

Hope some of these points are of some use, ive not really spoken about what you’re painting but how you’re painting.  you look like you are working through the issues of what you’re painting yourself so i figured you don’t need too much comment there.