Find Your Inner Rosie - A History, Color Theory lesson, and Guided Paint about Rosie the Riveter | Sarah Donawerth | Skillshare

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Find Your Inner Rosie - A History, Color Theory lesson, and Guided Paint about Rosie the Riveter

teacher avatar Sarah Donawerth

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (2h 20m)
    • 1. Welcome to Find Your Inner Rosie

    • 2. The History of Rosie the Riveter

    • 3. An Overview of Supplies

    • 4. How Color Theory Impacts Rosie the Riveter

    • 5. Guided Paint - Sketching

    • 6. Guided Paint - Blocking in Color

    • 7. Guided Paint - Adding Detail

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About This Class


Have you ever wanted to learn more about Rosie the Riveter? Find out more about the history of this iconic poster, as well as a step-by-step guide on how to paint her with this class! 

In this class, you'll: 

  • Get a history lesson on how this iconic poster came to be
  • Learn about the Color Theory in this poster, and how to adapt the color palette to fit your own
  • Guided Paint sessions taught in 3 chunks: the initial sketch, adding wide blocks of color, and adding details
  • Paint a Rosie the Riveter of your very own!

This is a beginner/intermediate class that requires some knowledge of acrylic painting, but don't worry! All the supplies and techniques are explained within the video! 

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1. Welcome to Find Your Inner Rosie: Hello everyone. I am Sara Donna worth it the instructor for this course. And today, in case you haven't guessed, we are going to be painting Rosie the Riveter. So this is a really exciting course for me. I've always gravitated towards this image. I just feel like it's really empowering. And it's also like it's a, you know, it's, we can do it, which is exactly what the poster says. And so in this course we're going to be covering a history lesson on the woman who inspired Rosie the Riveter? No, there was not an actual Rosie the Riveter, but there comes pretty close. And then we're going to be breaking it down. So we have our inspiration image right here, Rosie, hello Rosie. And then we also are going to have some artistic expression because not everyone is going to gravitate towards this image the same way. So in addition to painting it in the traditional primary color scheme, we're also going to have the option. We're going to discuss how to paint your own inner Rosie. Let's just say. So for this one I chose like a pink, purple and white vibe, kept it very crisp, very clean, very modern, and very, very pink. So we're going to be discussing color palettes that you can use that speak more to your inner rosy, as well as painting in the original primary color scheme. We're also going to be discussing how to break down a complex image that is based on a reference shot. So not everyone is going to walk into this and be like, I can draw a rosy, that's okay. You don't have to. If you can draw a circle, you can refine it from there and draw your own Rosie. I mean, really circles, squares, rectangles, straight lines. That's what is required for this course. And then we're going to be talking about how to block in the colors. Now, a lot of people immediately go for the detail and they're like, Okay, I'm gonna get the nose in, I'm going to get the lips. Perfect. That's not we're doing here. We are going to be blocking in big blocks of color. For every circle and square that we do it, we are going to do a flat color on it so that then you can add detail progressively and not be bogged down with the details right away. It's really good beginner technique that every art class covers, which is just take it slow and add detail as you go and get progressively more difficult as time goes on. So that is it for the Rosie, the Riveter course. I really hope you guys join it. And let's get started. 2. The History of Rosie the Riveter: Hi everyone. I am so glad that you're here. I know that it's a little unusual to have a painting class and a guided painting class that also includes a history lesson. But I just think it's really important that we connect this iconic character to what was happening in the time period because it's so interesting and it's so it didn't forms the image as we view it. So we're going to be talking a little bit about women in the workforce during World War II. We're going to talk about propaganda posters. And then we're going to talk about the character of rosie herself and who inspired this character, as well as some common Rosie images that have had a lasting impact. And so first we will start with World War II. Women in the workforce. Previously, the US workforce was about 27 percent women. That number climb to between 1940 and 1945, eventually reaching 37 percent. Doesn't sound like a huge increase. But as far as numbers were concerned, we'll get there. It's going to be a pretty big number of women who were able to enter the workforce. So by 1945, nearly one out of every four married women worked outside the home. Over the course of World War II, more than 6 million women entered the workforce. Yep. I told you it was a big number. American women entered the workforce in order to fill the gaps that male enlistment had caused in the industrial labor force. So among the industries that had surges and female employment, the aviation industry saw some of the biggest increases in female workers. In 1943, more than 310 thousand women worked in the US aircraft industry, accounting for 65 percent of the total workforce in this industry. That's a huge increase from the 1% of the workforce that they made up before the start of World War II. The munitions industry also heavily recruited women workers, including the women who would eventually inspire the Rosie, the Riveter poster. Also, just because women were entering the workforce in unprecedented numbers, does not mean that they were paid the same. In fact, they rarely made more than 50 percent of what their male counterparts made. So after the war, many women actually remained in the workforce, but were demoted to make room for the returning men. However, we still see such a huge impact on these women and future women working outside of the home. We see their impact on the war effort and we see their impact on just attitudes of the time. It was v. Kiersten vermin. She said of her work, it was the biggest thrill. I can't tell you. When the B 17's rolled off the assembly line, you couldn't believe the feeling we had. We did it. So Rosie the Riveter was actually a propaganda poster and it was part of many that the US war office put together. Rosie the Riveter depicts a munitions worker in a workman's uniform and a vibrant red bandana. The campaign connected joining the workforce with patriotic duty since there is still a stigma, stigma of working women during this time period, the campaign helped to connect joining the workforce to a cause. The US Office of the war made a variety of posters at the time to convince women to enter into the war production efforts. Briefly, there was even a Wendy, the welder that didn't quite have the lasting impact of our Rosie, the Riveter. So who was Rosie? She's actually a created character that starred in a campaign meant to recruit female workers to defense industry jobs during World War II. Although there were several models for the Rosie, the Riveter poster, the character is in fact fictitious and not an exact copy of any one person. There's actually a lot of debate and it continues today about who the true inspiration for Rosie the Riveter was. And there are quite a few candidates that had been brought up over the years. So the first candidate, which was generally accepted after the war until the 1980s is Geraldine hot Doyle from Michigan. She worked in a Navy machine shop during World War II and was believed to have been the inspiration of the Westinghouse poster. More on that in a second. So there was also a Riveter at Willow Run bomb plant near Detroit named Rose will Monroe. And she was featured in promotional films for the war bonds. And she is therefore another candidate for the real rosy because the Illustrator would have seen these promotional films for the war bonds. We also have Rosalind P. Walter from Long Island, New York. She's attributed as the inspiration for the Rosie the Riveter song by Evans and Loeb. She was actually a Riveter on course air fighter planes. However, one of the best candidates for our bandanna clad Rosie is Naomi Parker Fraley. She worked at the Naval Air Station in Alameda, California. And in 1942 photo, she actually sports with the polka dotted bandana that made Rosie such an iconic image. She passed away in January 2018, but it was quoted as saying, I did think it looked like me, but nobody ever mentioned it. It was not until 2009 that the Rosie, the Riveter, World War II home front National Historic Park, attributed of photograph to be the inspiration behind the poster. Freely looked at it and realized that it had been Miss captioned as Geraldine, but actually showed her on a tour at life. She let them know that she was the woman in the picture and it actually became a viral sensation on the Internet for quite awhile. But Geraldine half Doyle's claim to the photo and the Rosie, the Riveter poster were just too strong to be corrected at this point. So now we kind of have this duality of maybe it's Fraley, maybe it's Doyle. Yeah. So there are a few famous Rosie's. One of them is the Westinghouse poster. It's actually the most well-known poster of Rosie the Riveter. And it was made for the Westinghouse Electric Corporation. It's the one that sports the weekend do it headline. And it serves as a reference shot for this painting course. At the time of the World War II, it actually wasn't even known as a rosy or a Rosie the Riveter, but instead was an unnamed character that was meant to recruit females to the workforce. He was created by the Pittsburgh artist jay howard Miller in 1942. He actually had seen the image of Fraley in that bandana. And he had seen other inspirational photographs from women in the industrial workforce through the United Press International wire service. The poster was on display to Westinghouse employees in the Midwest in February 1943. But it wasn't widely known until the early 1980s when it was rediscovered and became famously associated with the feminist movement. Another common Rosie was the cover image of The Saturday Evening Post. It was published May 29th, 1943 and it featured a Norman Rockwell painting. The cover shows a Rosie, the Riveter character with a flag in the background. And her feet are squashing a copy of Hitler's mind camp. Her lunchbox is labeled simply Rosie. So Norman Rockwell was known for his Americana illustrations and he based the pose of his rosy in part on Michelangelo's 1509 painting, prophet Isaiah from the Sistine Chapel ceiling. Mary Doyle, a telephone operator, posed for rock walls painting but wasn't aware of what the final image would look like. So this image was loaned by the Saturday Evening Post to the United States Department of the Treasury for the entire war to use in war bond drives. So basically as a promotional image, in 2000 to the Rockwell estate, sold the Rockwell rosy for nearly $5 million at a Southern B's auction. It has resided at the Crystal Bridges Museum of American Art in Bentonville, Arkansas since 2009. It was actually on permanent loan from a private collector. So Doyle, the model of this rosy said, I didn't expect anything like this, but as the years went on, I realized the painting was famous. In early 1943. There was also a song called Rosie the Riveter, which was written by red Evans and John Jacobs lobe, which helps to spread popularity of the name Rosie when depicting these characters. So I thought it'd be funny to just include a couple of Rosie the Riveter is because they do appear everywhere. So Carnival Cruise Lines ship the carnival valor, has a restaurant inspired by Rosie called Rosie's resident restaurant, Rose's restaurant. It's a tongue twister. Singer pink dressed as rosy in 2010 for her raise your glass music video and beyond, say dressed as Rosie the Riveter in 2014 and was liked more than 1.15 million times on social media. Rosie the Riveter has been immortalized as a Barbie in action figure. Any number of decor items. She is a symbol of female empowerment, a positive attitude, and strength. I think we can all gravitate to this image in different ways. But I'm just so excited that you guys have kind of gotten a little bit of context about how she was created and why she was created and what she stood for. When when Miller was originally painting this this poster that sat in the Westinghouse building. So we're gonna get started on painting our Rosie the Riveter. I'll see you soon. 3. An Overview of Supplies: Hey everyone, I hope you enjoyed that history lesson as much as I enjoyed making it. The women who really started and propelled the war effort in World War II and banded together to just really show what womankind could do. Just amazes me this iconic poster and how it was developed. It's just so interesting. And it just like, I don't know, It's until the end of my days. I will be a Rosie the Riveter fan. So now that we have Just fan girl over the history of Rosie the Riveter. We're gonna go over the supplies needed to paint your own Rosie the Riveter. Keep in mind that this supply list is covering the primary color scheme and is not taking into account if you decide to use your own color palette for your own inner Rosie. That's the next lesson. So we're going off of this color palette right here. So let's get started, okay, First things first, a pencil. You need a pencil to be able to sketch your Rosie onto your canvas panel. It doesn't have to be anything fancy. One word of warning is I wouldn't use anything with a super soft lead because it will pick up in the paint on the next steps. So yeah, just the pencil, average, ordinary, nothing fancy. The number 2, standard one that you use for school is totally fine. So next thing on the list is actually skipping to the very end of the painting process. It is a Copic marker, I believe it's called a gate gas and feud, guess. Something like that. It is an India ink brush marker. It's not focusing. There we go. And it's going to be permanent once it's dry. That's really important. You don't want to use a water-based because if you end up ceiling or reworking any part of the painting after you've gone in and done your lines than those winds are going to bleed into your either varnish or anything you're touching up. It's just not worth it. Go with India ink, super permanent when it's dry. Okay. If you decide that you don't have this, you're not really interested, you're not sure if you need it yet. You can use a sharpie. Avoid I found is that when you draw a sharpie line, it tends to be more opaque on the outside and a little bit of like a blank space in the middle. Maybe it's just the way I'm working with it. But yeah, it doesn't give you like a perfect line the first time, so you probably have to go over it more than once to give out really nice, solid cartoon drawing line. So next, we are going to be going over the paints. The paints. I tried to keep it as simple as possible so you don't need like a whole pack of 100 acrylics. Know, you're really just going to mean three primary colors. You have your red, yellow, and blue. That's going to give you most of the color for this entire shot. I mean, look at it. Blue, yellow, red. On top of that. You are going to need black and white to create the different cues that are needed to cop to create dimension in your painting. So there's those. And then I don't really have a skin tone paint. So what I'm using is basically it's a portrait pink and then a Titan Buff. So basically an off white and a kind of pinky flesh tone. I tend to skew the flesh tones a little bit lighter because I mean, Hello, Look at me, I'm pale. So when I look in the mirror or when I look at my arm or something and try to match your skin tone, it usually ends up like deathly pale. So feel free to experiment with your own skin tone and try to find something that you're comfortable working with. Just don't skew to like pink or you end up looking kinda cartoony and don't skew white because you end up looking like a ghost. Then we have for the hair, we have just a raw umber. We'll be mixing it with some other colors to create the dimension in the hair. And then this is totally optional, is a matte medium. Basically you mix it with your paints. And instead of watering down your page to create like a watercolor effect, you would put this in it and a kind of reduces the opacity of the paint, which means you can see through it a little bit more. So once we've walked in our initial colors, and those are super opaque. Good to go. Then the next layers that you build up on it, you can actually mix this in and then you're not creating such a visual contrasts the first time. So it's not like I put down a stripe of red and then I mix it darker and then I like completely cover it up. It's more like you're now tinting the next layers onto the first layer of opaque red. So it's a fun tool, but if you're not interested in getting it, you can also just water down your acrylics so that you're creating these fine layers on top of the first layer. And then I'm sure you guys were wondering what you are going to be painting on. I use canvas panel. I like the fact that I don't have to worry about a warping if I push hard on it. As opposed to like Canvas where like you would get that little flecks. I think this is like the closest to like paper or art journaling, which is what else I do. So like it feels familiar to me, it you can also use a canvas, but basically you just want a rectangle because we're going to do it as a vertical portrait. And the first-line made was gigantic. So feel free to use anything like and a half by 11 is a standard sheet of paper. So maybe like push yourself a little bit and go to like 10 by 12 or 10 by 14, like one of those standard sizes, That's just ever so slightly bigger than a piece of paper. Or if you're really into it and you're like, I got this, my inner Rosie is like ready to leave out onto the canvas, then go for it. I believe the one that is large and pink that you've seen is 18 by 24, I want to say. And it was quite the beast paint. I would also say that for anyone who's struggling with taking a very detailed approach, we're going to try to break you out of that habit and get you into light blocking certain colors. But it might actually be easier for you to work on a smaller canvas with bigger brush, because it's going to force you to make brushstrokes that are bigger and less detailed. Whereas if you make your canvas gigantic, you're going to end up sitting there going like, Oh, I can paint every little individual hair on her head with the brushes that he used for this project. So, in other words, work at a scale that is good for you and helps you to create the art you need to create. So the last thing on the list is brushes. I'm really flexible about what you guys use on this project. There's not gonna be any real brush techniques where I'm saying like, Oh, it has to be a one-inch flat brush. For the most part. I'm just using the brush that's convenient to put down color. But I will say that I like these synthetic fiber soft ish brushes. And I liked them with the long handles. I will explain why. When you are brushing a short handle, you're going to be like right in here, okay. I want you to start drilling it into your brain that you paint from the middle of the brush. Okay. I want you to just make very little movements and eye once you guys to be nice and loose and towards the end of the brush. Now, if the end of the brush is long, you don't have to go as far back and you get a little bit of a counterweight going back here because you have a longer brush. So with the short brushes, I just don't want to see this where you're like right up at the end. And you're trying to draw the same way that you would write. That's not what we're doing here. We're keeping it nice and loose, nice and fun. We're going from probably the middle of the brush. Now, you'll notice because it's a long brush. If I try to do that writing, I end up getting this giant thing wobbling behind me that becomes very unwieldy. So that's how I broke the habit of trying to paint like I was writing. And it actually really has helped. So for this project, we have, I believe this is a one-inch it's a one inch flat brush. Okay. And then I kinda go back and forth. But I believe this is a filbert. I'll have to confirm. But it's just a route. It's around brush. I lied. It's a round brush. That's what it's called. I don't know where my brain was at, but basically, it's a pretty thick one. It's definitely not small. And so I wanted to tell you guys from using things like this, which I believe is a half inch flat brush. It's just going to take a really long time and you're going to feel all this pressure to be super detailed. So Here's the thing for the very, very, very last step. You will probably need a half inch flat brush, but for everything else, go with big, big brushes. Okay. I'm telling you is a lifesaver. When it clicks in your brain, it will be so great because it took me probably a handful of paintings going like forcing myself to use the brushes because I wanted to have a painterly look. And every time I use a small brush, I blend it to death. So use a big brush, big brushstrokes, a nice painterly look. We're not going for quite the detail is displayed in the reference shot like they've definitely blended it. It's a very heavily blended, detailed shot. We're going for a more painterly effect. So that is why you've got your one inch flat brush, your big round brush, and your half-inch just for details. So in the next lesson we're going to be talking about the color theory behind these posters and how to adapt it so that you can find your own inner Rosie. See you then. 4. How Color Theory Impacts Rosie the Riveter: Welcome back guys. For this lesson, we are going to be talking about color theory and before your eyes glaze over and I tried to keep it as irrelevant to this project as possible. So we're just going to cover the basics. So basically, Rosie the Riveter is done in a primary color palette, so that is blue, yellow, and red. There's some debate within the artist community that potentially there are actually more primary colors, which is, which are magenta, cyan, and yellow. Basically the colors that you get him printer cartridges, saying that they can actually create more vivid colors then these particular primary colors. But that's a debate for a different time. And again, we said we'd keep it simple. So the primary colors are blue, red, and yellow. And those are basically evenly spaced on a color wheel. So they are at, you know, there they create a triangle. So when you mix those together, you actually get the secondary colors. So if you mix together blue and red, you're going to get purple, blue, and yellow. You're going to get green. And then yellow and red, you're going to get orange. Those are the secondary colors because you only use primary colors in order to mix them. From there, we are going to get, Excuse me, we are going to get the rest of the color wheel by mixing together primary and secondary colors. So these colors that you use primary and secondary colors to mix together are called tertiary colors. Why they don't call them like thirdly colors or anything more simple to pronounce. I'm not really sure. So we have a primary color palette for Rosie the Riveter. And the reason it's so pleasing to the eye is because red, yellow, and blue are evenly spaced across the color wheel. And they are called triadic colors. So basically, you can create a perfectly shaped even sided triangle with your colors. Then you have a triadic color scheme. Okay? So these color schemes are very vivid and eye-catching because they use those specific primary colors. Now, at the time, women of the forties were mostly like staying at home and were homemakers and we're in charge of taking care of that space. So when the war came around, their men, their husbands, their sons were all shipped abroad, go and fight in World War II, which left this huge opening for the need for laborers. So all of a sudden, these homemakers, we're heading to factories and doing just these brutal jobs that they had never done before. And so this poster is a call to action. It's saying, come support the war effort, bring these men and boys home. And so is using this very vivid color palette to have this very strong message where it is, we can do it. It's supposed to be inspirational, encouraging to these women at the time that are just in this whole different element than they're used to. And so basically, you can see from the image that this is sort of the transformation that they were asking these women to go through, which is, you know, she has the bandanna on to protect her hair. She is wearing a workman's uniform, like it's not addressed. It's not anything in women's fashion. It was actually, it looks like a men's shirt. And so it was this transformation that they're trying to get across with this very vivid, powerful color scheme. That being said, that's kind of the rationale for the existing Rosie, the Riveter. But not everyone is going to be trying to tell that story with your personal rosy. So as you paint your inner rosy, you should be thinking about what colors you'd like to use. So there are a couple of different ways to go about it. If you have a color that you just gravitate towards and you feel like it embodies who you are, go for. It is an example that you've probably seen earlier in the course, but I painted this is my inner Rosie. I changed the wording too. You can do it because it's so exemplified like just what I was trying to be at that moment. And so as you can see, I went with a really strong pink vibe. And I also did a little bit of purple just for the contrast. So the color theory behind that is I'm picking a color that is powerful to me. And that expresses what I'm trying to say. And then because I needed that darker complimentary color, I chose a related color on the color wheel. So instead of going across, I really went like next to pink and did just a darker shade that was still in the same family of tones. So when you guys are picking the colors that you think are representative of yourself and your own inner Rosie. Here's a couple of things to consider. So complimentary colors are actually directly across from each other on the color wheel. So if any of you guys have seen like an Instagram shot where it's filtered to be very heavily teal and orange. That works because it's exactly across the color wheel from each other. And they're complimentary colors, which is just pleasing to the eye. So what I did over here with my pink and my purple is I did analogous colors, which are colors that are side-by-side and therefore related. Now, you can also experiment with seeing how many perfect triangles you can make on the color wheel. And see if there's a color scheme that really like agrees with what you're trying to do there as well. Because remember, red and yellow and blue form that perfect triangle in the color wheel, and that's why they work. It's a triadic color scheme. Now, if you take that triangle and you move it over one color, you all of a sudden have a new color scheme, but it's just as aesthetically pleasing. If you take that triangle and you move it over again, you're going to get a new combinations. So if you're like, I don't know about this, stick to two colors and see if you can get them either on opposite sides of the color wheel or next to each other. But with enough contrast that you can create your picture if you're like on it. I'm loving it. You can do triadic color and choose three that are evenly spaced across the color wheel. And that just kinda helps you to create a cohesive Rosie, the Riveter that's going to have the same appeal as this one here. So that is all for color. Next, we are going to be sketching and blocking in Rosie. I will see you soon. Bye. 5. Guided Paint - Sketching: Okay, so in today's lesson, we're just going to be blocking in our basic sketch, we need our pencil and our canvas panel. And as you can see on the easel, I have the reference shot of the original Rosie the Riveter. And we're just going to be working with a very basic shapes. We're not trying to get perfect detail here. And in fact, we're actually going to be simplifying a lot of the features of the face for this project so that we don't get too bogged down and we get a nice inner Rosie that is easier to draw. So to start off, I am just going to make a quick line to signify where the text bubble is going to go. Now, I'm going to draw in oval, which is going to be her face, I mean, clearly. So we have then a neck here. We have her color. And don't worry too much about removing lines on things that you're not quite pleased with because you will be painting over all of this. Select no line really has to be perfect. But basically I'm get workings of her fist. And this kind of got structure here. Again, I have not really drawn any sort of like shape that resembles what we're doing here. I'm just blocking in the very basic lines. So I literally like, if I paint in it right now, it would look like she had a, you know, a club hand. But we're just trying to get very basic things like angle. That's better. And the sleeve pick from. And we've got What's our site? Okay, so at this point, you should have a couple of really main shapes on your page. Okay? You should have your face, which is an oval. Okay. You should have your fist now I flattened off the top of it and just because I could, but really, what is that shape? It's a circle. Okay. And then we have an arm which is going to be a straight line across, maybe a slight slope to it. And then another line with a slight downward slope. I have white done perfectly. There we go. A line. A line. Okay. I started to draw in the bigness of the sleeve, which is again a circle. Okay? And then because I have these two lines, I was able to just sort of connect these down to create a sort of vague arm shape. Okay. So we've got a line, a circle. A circle is a sort of what a parallelogram. It's a, it's a, it's a rectangle. That's sort of science a little bit. We've got another line, another line and a circle. And then I started to fill in like here's where the sleeve ends, just so that I have that visual marker. And then I have down below her other arm, which is behind the first one and a little bit of the elbow going. Okay. So I haven't even drawn in things like her body. So to make everything connect, I would start with getting the face and the arms, right. Don't worry about anything else until you foot. Think that you have the right shape, angle, and positioning of these k. Those are the key features that if you can get those right, the rest of the thing will just fall into place. Okay? So have a little bit of a note here. And in this just sort of there a little bit closer together on hers, but weren't going to take some liberties here. And just draw in. That looks about right. And then we've got the end of the color. And do you see how far back I'm holding my pencil? I'm trying to block in the shapes. So again, it's the same thing as with the paintbrush. You want to hold it further back so that you're not forcing something and getting too detailed too fast. So I've got pretty good back slope there. So I'm just trying to sort of mimic the arch. And then she's got Hudak girls Guinea. There we go. Okay, so now that I've got the speech bubble, the faiths, the fists, and the general shapes of the arms. I went in and I filled in the color. Just big shapes. I don't even know if I'm going to keep them exactly that way. But that's sort of how they're lean in right now. And then I went in and just provided a very basic silhouette for her body. So I'm also seeing two pretty prominent shapes in her bandanna that I'd like to make sure we get really well. So I'm seeing this sort of so connection right there. And then I even know what this shape would be called. It's like almost a leaf maybe. And then it goes in the other direction too. And I'm trying purposefully to make them not match because how often does a bot match? You tied it yourself. Okay. So I'm also going to bring out some of the angles on her head wrap just so they don't lose them flat here. And then we take it in and then it sort of curves down. Okay? Notice that I started with very, very faint lines when I was drawing in the face. And then when I became more like, okay, this is where it's going. I darkened up my shading so that I could get all of that in there. Okay, So at this point, I'm going to actually take a cue from my own book and reference my first Rosie, the Riveter to kind of helped me bring out some of these shapes because I really liked the way I had the hair elapsed time. So the hair again, a circle had a victory roll right there. And then sort of write down into the phase. And then I gave her quite a chin. I don't normally give them that much of a chin. But it just felt like she needed some dramatic features. Okay, So at this point I'm going to place the ear just so that I don't forget to put it in because I have been known to do that. So what I'm gonna do is I'm gonna take the height of the face and divide it in half. This is going to be where our eyes go, but we're not even going to work on that yet. But your eyes coincidentally and your ear line up, which means that if that is the line where my eyes are going to, my ear is going right next to it. So I actually already have a slight ear shape that I added by accident as I was loosely drawing in the hair. And I think I want more hair on this. There we go. And I have my lovely clean up some of this so that my lead doesn't get into my paint later on. And then there's my victory roll. And then I have the rest of my hair and I'm gonna give it a little bit more of an organic shapes. So I'm adding a debit right in there so that it looks like is really coming off of the face. Okay, give her just a little bit too much dramatic cheaper bones. If you find yourself going through too many pencil legs, shall we say? It means that you haven't mastered giving yourself room to find the shape and then darken it up. So if that's happening for you, then just lighten your pencil and lighten your pencil and why again it up. And then once you've really taken the time to find the right shape and you're like, oh yeah, that's it. Then you go in and darken it. So what I've noticed is between my reference shot and this shot, I have actually turned the face a little bit more towards the viewer. And I've also straightened her arm out just a bit. I'm actually okay with it because I was using the reference shot to make sure that everything was in the right place. But then as I kind of like felt the image coming through the Canvas, you just commit to what is there and what looks right. Okay, So if I tried to just get this one verbatim, it would end up looking like a hot mess. There's definitely a picture in my Google Cloud of that picture right over here looking like a hot mess because I was trying so hard to get eyes, shapes and eyebrow caulking and all of this stuff that I just didn't need for my own Rosie. And so it actually worked out way better when I just sort of started trusting what the picture was doing. And it's like, obviously if you have like three arms or something, you probably are going to need to fix it. But for the most part, like take a look at what is happening and then really just let it happen. You know, it's it's going to surprise you. I'm pretty sure. Yeah. Because I'm actually I really like this. The bandana is actually a lot thicker on this side. Then in the reference shot or my previous one. And I like how it's like making her it's making her look new and fresh and different. And I think that's actually all of the detail that I'm going to put in at this time with my pencil because I think the next step is just going in with paint and blocking it out. So that is it for this lesson. Thank you guys for joining me. I'm going to post a couple of photos of this stage. These can see them up close and potentially even just follow those shaping of the step. Thank you. Bye. 6. Guided Paint - Blocking in Color: Hello everyone, Welcome back. So basically today we're going to be putting on the first layer of color onto our rosy image. So for you guys, I'm going to be doing the primary color scheme that we had talked about earlier. But you're not limited to that. Remember, it's all about painting your own inner rosy. So maybe you're in a rosy is paying or purple or green or gosh, actually like a woodsy rosy of like green and brown would be really interesting. So, yes, you're basically painting your own some things to remember. So we're working with primary colors. And then I also just for like the ease of mixing, have an off-white and a portrait pink that's going to be used for our flesh tone. And then I have some raw umber for her hair and also to darken up this yellow because otherwise it's going to be very like highlighters and we don't want that. So we are going to be doing color actually in a slightly different way than most acrylic painters. And I think it's a simplified process that will really help you get the hang of loose expressive painting versus like sitting there thinking about every single color. But typically, with acrylic painting, you are working from your darkest tone to your lightest. So if I were to paint this Rosie and I was going for like ultra realistic, really complex shading and everything like that. I would be actually starting with the darkest blue on her shirt. For this, we are actually going to be doing kind of a three shade variety of each color. So for each color, main color, we are going to have the true blue. And then later on we're going to add a dark blue and light blue. So basically we have our true primary, our highlights and low lights. So I'm going to get started preparing my canvas. We're going to start. We have our blue color. We have our opening it carefully this time. Red color and yellow, which is still sealed. Wow. Okay. The last sucker open. And that one exploded to on me. Cool, cool. As you can see, it's the cleanest to paint. I haven't even put paint on Canvas yet and I already have it all over my hands. So I keep just a paper towel to just keep it like, generally cleans that I'm not like wiping it on my face or anything. But I kinda let the mess reign until we're finished. So we have our off white. This is actually the actual color is called Titan Buff. I've always just call it like, Oh boy, which is basically what it is. And put our skin tones together on the pallet. And then we have our raw umber skin a little chunky but we'll make it work. And then one that I forgot because it was sitting down here is just pure white. Wrong goal. I buy white in the giant tubes because I just feel like I go through it so quickly and I am absolutely a fan of whitewashing like everything. It adds that layer of depth that I'm usually looking for. Okay, so at this point you can't see my Canvas, but it looks like this. So we have our primary colors, we have our skin tones, we have our white, and we have our raw umber. So you might be wondering what brush are we using for this? I'm using the one insurer. I'm going straight for it. We want big brushes in this project is going to keep our, our painting nice and loose. And it's going to lead us kind of think more about the colors and their placement than we are of these little teeny tiny brush strokes. So I'm going to start with the yellow. So the yellow that I have for the background, I like to start with the background just because when you're like painting it in, you can get pretty close to the outline of your main focal image. But then when you go to actually paint your image, you just need to paint it a little bit wider than the line. And you'll actually like, kinda cover up all of these lines in the process. So the yellow that I have here is actually not the right warmth. Of our sample image. So to get it just a little bit darker, we're actually going to mix some brown into it. But then I've lost some of the brilliance of the shade. I'm going to get all that extra off. And so I'm actually gonna put in just a hair red. And we are just stirring forever. I may have overdone that slightly. Oh, yeah, that's that's like bad ketchup. Okay. That's okay. We're just adding a little bit more yellow and keep going. Come on yellow. Because yellow is such a light shade. I really did not mean as much as I mixed into it. But we're going for like a nice mustard. Okay. I think we're almost there. Let's look in, look at my sturdy. It's definitely a Dijon. Okay, here we go. Let's start right here and just go for it. I'm excited and how this is looking. Okay? And remember we are blocking in color and we are unafraid to make mistakes. Because remember this is layer one. We still have several more layers to go. And if something doesn't go according to plan, we can paint over it later. So there's really not a whole lot of fear that should be happening at this stage. The fear should happen later on. Just give it. Yes. So we're just blocking it in nice and loose. And remember, this is why we chose the big brush so that we would be forced to be loose. Even though our brain is sitting there going boom, we didn't get exactly what we were looking for. That's okay. We can always get it later on. So I am using the one-inch flat brush. And there are probably fine art people who are going to hate this part. But what I like is that you get the wide stroke there, but then you also can take it along the side and get a really nice clean line around things that's a little bit skinnier. And you can see I just turned and some of the meat off of her elbow because I just thought it kinda wasn't needed. You can make those sorts of edits at this moment. But really what we're going for is just big ol juicy color are getting the color in the right places. Okay, at this point, I'm actually pretty, pretty pleased with that. Like some people may feel the urge to like go in and fill all of this in. I don't know. I kind of like that. It's actually very loose. As long as it's like the true color that I want, I'm not actually going to brush stroke it too much more than this. Although on some of these like big places where I feel like it needs brush strokes, you can go ahead and add them in. It's kind of the cheater, cheater way to be painterly. But I do like, you know, when you, when you see like this chunk is really good, brush strokes looks like an artist made it. And then you've got like this guy which is like one big stroke that I did at the very beginning. I actually would go through and just chunk it up a little bit so that it ends up being a little more even in its imperfection. If that makes sense. Cool. So the yellow is done. It did not take nearly the paint that I thought it would. And so I'm just wiping some of the paint off so that doesn't weigh me down in future layers. And I'm thinking, let's go with the blue just because it's nearby. So the blue, I'm actually not mixing and all, I'm just gonna do a true blue here. So now that we're actually working on the figure and not the background, this is where we can start our visual editing process. So I am going to paint it in, in the structural shapes. But instead of just like going right on top of the line drawing, I'm going to actually really think critically about like this guy. I'm committing to these lines. Like that's her color. Don't need to do it dark. We can actually leave it pretty light and airy because we're gonna get those highlights and low lights, remember, so we are just working on blocking in the color. But instead of taking our true lines that we did in the first step, we're going to be thinking about what the shape should be on this next level of refinement. So I have like color here. And then I have this little fold. And then that's like the backside of her color. And then I noticed that my colors are getting a little bit muddy. So at this point I'm going to rinse my brush just to get it nice and crisp again. I thought I could get away with just wiping out the pain. But there's still a little too much yellow live in on that brush. But again, that doesn't matter. We don't worry about it. We just keep shrunken in color. I want this to be pretty okay. So in our first line drawing, we really didn't flesh out the shirt really at all. So at this point, I'm going to start making some of the decisions that we needed to make. So like here is the rolled sleeve from the behind arm. When we've got this chancres, which is rolled up. And I'm going to have the roles be right to about here. So by blocking in this color, I'm going to actually be able to see just a hair more detail than I did before. So we've got like a role here. You've got rule here. And then I'm looking at my reference shot now and I'm seeing that instead of like doing just a straight role, It's actually come more angular than that. It's like this. Okay? And then we've actually got wrinkle here next week. And then by changing the orientation of your brushstrokes, you can actually leave yourself hints for feature layers. So before I was going straight this way and now I'm doing it at a slight curve so that you can tell that there's a sleeve there. Just It's almost like coloring, like when you work in a coloring book. And you're changing the direction of where you're going back and forth and back and forth and back and forth to imply shapes and shading and color and all that stuff. That's what we're doing here. So we've got this shape right here that we've added in. And then we've got a wrinkle that's going in pretty pronounced right there. And then we're going to have this piece sort of go like that. Okay. Cool. But again, I'm not like sitting there going like, oh, and we have one fine line right there. It's really about chunking in the color. But leaving yourself those hints so that you can tell what's going on. In later steps. I'm just gonna go over this because it got a little muddy with my yellows so close to it. Stopped it right there. Kay. Okay. At this point I'm thinking rather than going to the flesh tone, thinking I want to tackle that bandanna, which is red. So I'm going to switch to my rounder brush, just that I have a little bit extra leeway because it is a pretty small space. So this guy down over here, I've got my red on my brush. I'm using the true red. I'm not mixing it all at this level. Okay, So I got my tool ties in there. She curls to the hair down. Oops, a little bit red where I didn't want it, but that's okay because the brown will cover it for sure. Okay. So I'm rinsing my brush off. That's really all I'm gonna do for the red. I feel like I did not use it that much. But when you're painting loosely, you'll be surprised how far paint goes because I'm not trying to get it super opaque on the canvas. If this was like, you know, trying for perfection, I would have done, you know, maybe 10 layers of this to get it really read and really purely colored. But that's not where we're going for here, we're going for painterly and we have to fight our normal urges for perfection K. So I think we're going to switch to some flesh tone now. So remember we had that off white color and then we had our portrait pink. I always feel like the portrait pink is to pink for a flesh tone. So that's why I mix in the off-white color. If you guys think that that's like, you know, the perfect skin tone for you. Great. Do it. You can really mix it to whatever you'd like it to be. I am pale, deathly so so I find myself and watering it down a bit. And usually I test it out just on an inconspicuously. Ooh, that's actually perfect. First try. Cool. Yeah, I tested out on a little, little piece that I can paint over later. So make sure it's like in the center because that will be the part that you probably work the most within your piece. And just kind of play with it until you're like, You know, I like that. And then we'll just start blocking in the face. Yeah, I'm really happy with this flesh tone. I usually do make it to light and then I like rethink it later. Whoops. Just get a little red on your face. Sorry lady. Yeah, but this actually turned out really good the first time. Okay. So I've got the pink sorta slapped on there. But I'm not really happy with the way that the brushstrokes look at, kinda looks like I had been combing her face. So what I'm gonna do is I'm going to start thinking about the contours of her face. So really, there needs to be a pretty pronounced cheekbone here and a jaw line is pretty pronounced as well. And then she's got like the eye cavity is r here. It's got a little bit of an upturned nose. And then we've got our lips in this general vicinity. So you may not be able to pick up all this detail from what I'm doing at the moment. But basically, I have just drawn in her face as much as I could anyways. So we've got like an eyebrow here. Got an eyebrow there. So it's like even though I'm just barely very thickly trunk and in the space. I have for later, kind of the first thoughts I had on where the eyes go and where the nose goes. And I also notice that like it turns up a bit. And make sure that I get that detail right. And the future. And like this is way too much, I will just take some of that out. So now it's like even though it looks much more like a hot mess than if I went like up and down and up and down and up and down, I do have the beginnings of a face. That's going to be interesting for for later discovery. Almost forgot her ear. And because I did go so heavy on the face when I was doing the pencil work, I do appear to be picking up a little bit of lead, but that's okay because for the most part, the lead is thickest where a shadow would be anyways. So I don't think it's going to hurt me later on because, you know, I'm going to be adding a shadow here. So if I pick up the lead in a shadow, it's just going to add to the shadow, so no worries there. So I am going to start drawn in and refining the arms. And remember like your first one is just get the paint on the page and then you can kind of give it a second look and go like, Oh, okay. So this is mostly the back of her hand. Well, not really. It's like this is a chunk and enlightened. This is a finger. Finger goes like this. So I'm adding in the lines that I'm going to need later on to get to that level of detail that I'm looking for. Finger, finger, finger. Here's the this is the thumb. And we have like the back of the hand which goes this angle. So the brushstrokes are really going to help me get that later level of detail in. Okay, I'm going to start building up quite a bit of flesh town on this section of the elbow because I also notice that my pencil lines that I didn't erase are coming through. That's okay. You just put it on a little bit thicker cover write-up and potentially song on my main just like leave because their construction lines and they're kind of interesting to look at. Because again, I like a very painterly look. Okay, so I'm getting this will lower arm. I like the part I've been agonizing the most over is also the part that nobody's even thinking about, which is, when your arm is like this, how much of a Devitt do you have right there? I can't decide. I don't know if it looks right, but we're making a decision and going with it. Okay. So I'm also going to take the time to figure out where these fingers are going. So you've got like one. Number two. Okay, so now that I've chunked in my fingers, I can see that this is now going to become part of the arm. And then I'm actually just going to work. Just tapped my blouse with paint disk because this will end up being, here we go. Okay, cool. So I'm going to rinse, rinse my brush, and get in the last two chunky areas. So I have my hair. I'm trying to get stroked in so that it looks the way the hair was falling. So definitely follow those sort of curls and waves. And don't be afraid to add a few more. Okay, and then this is like a big victory curl or a victory role. So I'm going to take a really big sweeping curves to draw that in. Ooh, I like that. Wow. Sometimes you'll surprise yourself and you just don't even touch it after that. You're like done. K. So we got our brown in and I realized I left the top when we were working on the blues. I forgot to paint it in. So we're gonna do that now. Trying to get a nice clean line there. Realized one side is just ever so slightly higher than the other. So I've painted that down and then I'm just kinda piling the paint on a little bit heavier in that region to make sure that it covers all the way. And then again, I like the painterly look. So I'm leaving in these brush strokes because I think they look really cool. But I'm just going through and making sure that not only are the brushstrokes kinda even across the board, but that we have the same opacity on the paint because it is a solid color on the poster. So I'm trying to get it as matching as possible without losing those beautiful brush strokes. Okay? And then this is technically a speech bubble that she is speaking to us with. So I'm gonna go in and add that now. Okay guys, it is definitely looking very promising. This is the end of the shrunken in stage where our goals, or just to get color in the general location that they are supposed to be. It is not supposed to be perfect yet. It is not even supposed to be fully realized. But what we did is we also added the first level of clues and indicators for our future detail-oriented layers. So we've started to mark in the places that the sleeve is going to have some wrinkles. We marked in the end of the color. We marked in that victory curl, which I am still impressed by hands. We've marked in sort of all of these different hints of like where the fingers are and that sort of thing. But again, they're still very blunted and general shapes and they're going to get more specific as we continue to paint. Join you guys next time. Bye. 7. Guided Paint - Adding Detail: Okay guys, Welcome back. We are working with the same paint palette as before. My acrylics, we're actually still moist, so I'm just gonna use those. But I have let the canvas completely dry. So if your canvas is not drying, you can either speed it up with some like a hairdryer. Low, do not bake your painting. Or you can just give it a couple more minutes and then check back in. So for this phase of the painting, we have a couple of goals. We are going to be basically filling in any place that we didn't get close enough. And we're gonna do our highlights and low lights. So our highlights are going to be basically the color you used in the previous step, plus a little bit of white. Our low lights are going to be the colors you use in the previous step, plus a little brown or black. I'm think I'm leaning towards the brown at this point just because we have such a warmth coming through that I don't want to make it like a cool, toned dark. I want to make it kind of a warm tone, dark and brown. We'll do that. So yeah, we're still, we still would like this lovely painterly effect to stick around. But we are going to be kind of adding a little bit of polish to the whole composition. So we have our one-inch brush, we have our round brush, which is still pretty fat. And we have our I believe this is a half inch brush. Yeah. Seems to be about a half inch. So the half-inch brush we're going to save for last. And we are going to, I think work with the round brush at the moment. So I have my round brush and I'm going to spend the most time I think, on this shirt because I find it to be the most fascinating piece. It's got some wrinkles. We've got some Davidson stuff. And so I'm going to start mixing up my dark blue on one side of the original blue. And I'm going to mix up my light blue on the other side. Okay, so let me just test this out on a place that I know is going to be easily the darkest right here. Okay. So I'm just testing that out. Okay, yeah, I'm also seeing it kind of goes this way. Again, you can see I'm not going for precision, I'm going for just chunking in darks and lights because that's going to be what keeps this lovely look that we have going. Because we like our painterliness. This point, I'm going to pick that one in there. I'm referring a lot to the reference shot just because I want some sort of basis for the wrinkles that I'm putting in. But also once I get it into a certain degree, I'm going to just start looking for what looks natural to the piece, rather than necessarily what looks exactly like the portrait and the reference shot. Because you'll notice I've already kind of deviated in that. I straightened out her face a little bit. I have a much thicker bandanna over here, but a thinner bandanna over here, probably because she is a little bit pivoted in this new version and that's okay. It doesn't have to be an exact representation. Otherwise we'd just be like really fancy art forgers. And we don't want to be that we want to be creating an image to the piece and exploring the shapes and lines of it on our own. Okay, So because I had wet brushes when I started, I am getting that nice semi translucent acrylic paint layer that I needed. However, if you're like, Oh my gosh, my acrylics are really thick or they're just not leaving a lot of space to breathe on the canvas. And I'm losing a lot of the brush strokes because it's just so opaque that it's just dark. Then at this point you can actually mix in some matte medium that'll help you just continue to get some light through it so that you can also build up your layers. Because it's like I'm moving pretty quickly and I think I'm getting a good Like highlight and low light from this. But if you weren't and you're like, I just don't know, it's not looking quite right. Then what you can do is you can start to build up the layers rather than just going for the gusto all at the beginning. So like here, I have a little bit as the previous color underneath coming through. And so it's kind of like if I really wanted that dark, you'd have to put several layers. So you can actually kind of prevents some accidents from happening by putting it on just a little at a time. So you may be wondering, like, how do I know where to put this color? I'm at a loss. I don't know what to do. Please help. All I'm doing right now is I have my whole blue shirt in there and I'm just looking for any place that they dark into up to make a wrinkle. I'm ignoring right now this lighter part here, here and along the top of the shoulder because that's going to be my highlights also on the color. For right now, I'm just looking for those dark darks. So I've got a little bit under here underneath the arm. I'm actually a thick in that one up because it's nice and chunky. And then I have another one further up. And then they actually dark in just under that bust a little bit. And she had this kind of sweeping panel that goes underneath here of dark. And what else is a little thinner line right there. Just a little sum. And you again, you don't have to put in a lot of paint to get the effect that you're looking for. Instead, think about it as just, I'm just putting down little shapes and I'm building them owl. Nothing at this point should be to Jane Norman's. Ok. And you can just continue to add those low lights until you feel like you have the effect that you want. Another one. But I think I'm going to leave that one out. Okay. I hope you guys are still having your inner Zen go in and not getting stressed out. Because again, painting, like everyone thinks that takes so much mastery and skill. I'm going to tell you a secret. It really does hit. It takes the persistence to continue to add to a piece and continue to work on it and on your skill until you get there. Like everything about painting is a learned skill that you improve upon. So rather than working on like getting it perfect right now, just think about, am I getting it better? I'm I getting it to the next step? Because that's all you need to do, is just get it to the next step. And I actually think we are doing that and it is so thrilling to, to just think that like, okay, and a little bit, this is going to be a little bit further. It's going to be a little bit better. We're going to have so much progress. Okay, So I am taking the blue now and adding just a little bit of white and we are mixing together. I'm actually, I always debate if I want a really sharp contrast of light, It's a dark blue, a medium blue and a light, light blue. Or if I want kind of it to still be in the same wheelhouse. So you may see me adjust this a little bit as I go. Yeah, I'm thinking I can afford to mix a little more blue in. Again, looking at my reference shot to see how it's going. Okay, now let's see what I'm Matt who yeah, nice. And then this guy, like their group. And again, we're just looking at the reference. And we're making choices based on what we're seeing. So I saw a little bit, they're added it in. And I'll see you in a little bit along the top of this color at that in. Okay. I'm also thinking this might be a little bit too chunky for what I'm going for. So what I'm gonna do is while that's still just a little bit, what I'm going to take my brush and just blend it in a little bit. It will cause it to cover like a little bit more of an area and then you can wipe some of it off with your paper towel if you need to. I was just thinking it looked a little not connected to the rest of the shirt. So blending it in just a little bit will help with that. And then I'm also thinking I'm gonna go back to that earlier color and just touch up my previous dark spot. Because it kind of got in the way of it a little bit with my whites or well, with my lighter blue, I should say. Okay, I'm actually really pleased with that. And I could continue to work at a little bit, but like, I'm not sure I want to because I feel like so far my piece has this thing going for it. It's kind of more painterly, the most versions of rosie that I've done. And I'm okay with that. Like, I actually am thinking it looks pretty good. So I will resist the urge to overwork this because I know I am capable of over-working in and I'm going to just let it go. Okay, so next, we are going to do some highlights and some low lights in the brown. Now to create a lighter brown, we're obviously going to add some white to it. But you may be going like, well, if we added brown to all the other ones to make them darker, how do we make this one darker? This is where we're going to use just the most infinitely small touch of black. Like I don't even want a whole drop. Okay. And looking at the picture, I'm actually I'm seeing and identifying a lot more of the highlights then the low lights at this particular moment. So I'm going to start with the highlights, which I know is backward to what I just said. But like I feel like I know where I'm going to put them and I know how it's gonna go. So I'm going to start with the color I feel strongest at. And then I'm hoping the low lights will actually not be as needed because I already feel like it's pretty dark. What I wanna do is just highlight a little bit on the hair. So for the sake of keeping it simple, I'm actually just going to yeah, add just a little bit highlight. I'm going to blend in nicely with the wetted brush. And then I'm also going to think what just a little bit out. It was brighter than I anticipated. And then I see an opportunity to add the low light now and it's going to be right in the center of that curl. So by starting with the highlights actually revealed to myself where the low lights would make sense. Just dab that a little bit. There we go. So the perils of working with a large brushes, sometimes you don't. Get exactly what you envisioned on the page the first time. But that's why you always have a paper towel or a baby wipe next to you so that you can dab away anything you don't want, don't need. Just keep working until you feel like you get to a good place. I wanted a little bit of the old color to show through just a little bit. So I'm actually just taking a very wet brush and wetting the paint and then dabbing at it just a little bit. It's like it just feels like that color got heavy really quick. And I also loved the brush strokes on the previous error. And that's okay. Sometimes it happens. Okay. I feel like I didn't do much to the hair, but I was already really liking it before, so I'm going to let that be it for now. Now we're onto the dark skin tone. So I'm just taking the portrait pink and the, I believe it was titanium buff and adding just a hair of brown. And trying to think of how to describe this color. It's like almost like very, very light light brown. And then what I felt like was necessary. It was just to give the fingers some definition. But I also feel like potentially this is too heavy handed it a little bit. So I'm going to just finnish bringing this color in. And I think I am going to go through and then just wet it and get it a little bit more blended. We are using our reference shot to find out where these highlights. Well, this is the low light where the low lights go. And if it ends up too heavy, it's wet so you just dab it away. So far so good. Then taking this just trying to scrub some of that more blended and online. There we go. Sometimes you just get that color that just kind of wants to take over. And that's where you're going to use. The paper towel just a lot. No matter how hard you try, this brown just wants to have its way. So I'm ending are putting on more than I mean, and then dabbing most of it off. The CMO, how it's giving it such dimension by having this shading on it. Here. Oops. That was Mahayana. I'm also going to dark in here. I can add just a little bit of like indentation on the ear. And then I think I'm going to take some really watered down because I don't want the face to be too dark. I'm just going to go there. I think. No shading on the nose wouldn't be. I'm just leaving barely anything there. If you're in doubt on where to shade things on the face. First, look at your reference shot. And then there are a couple of places. So like the eyes are always, usually pretty well shaded. And then you also get this dark ring around where the hair hangs over. That would be a good place to add some shading. Okay. Now, for the background, the background is map like a 100. So all I'm really going to do is I'm switching to my smallest brush and I'm just going to touch in some of the white space where my other elements didn't quite extended as far as I thought they would. And I'm just going to fill in anywhere that's white. If you felt like it, you can totally add a shadow behind her. But I don't think it's necessary for for mine at least. Yes. Especially around this hand. I definitely slimmed down where the hand ended up. I've got one very sausage finger though. Let me see if I can swim that down. The power of contour. The whip brush. Just smooth it out a little bit. There you go. It's thinner. Not by a whole lot, but it is thinner. I'm also going to take this color and use this blend of the line a bit between my skin tone, my shirt. Then I'm going to take two new filaments and the whitespace here. Here, here, and here. Remember we're staying nice and loose. We like our painterly of IBS. Okay, it was also noticing two or three spots where this was happening in the white in the bandana. I'm going to fill that in with red. Okay, I think we are ready for for some eyebrows. Here we go. Okay, So I still haven't decided kind of what I'm doing for the eyes with the eyes would be right here. So I'm actually going to just feather in some eyebrows. I know hers are very thin and very 1940s. But I'm personally a fan of the thick brow. So I tend to make them a little heavier. Do whatever floats your boat. I would also say like, I'm used to drawing in faces beforehand. But for this, because it is so painterly, we do need to be conscious of the fact that like drawing in a very clean vases going to look kinda bizarre. So what I'm doing is just a little more brush stroke E and a little more crazy than I normally would. So maybe brave. We're going to put in the nose. What I'm doing is I'm using my half inch brush, which is kind of helping me get those straight lines going. But I'm also being very aware to not be too careful. Because again, if we're going to preserve the painterliness throughout the whole thing, we kinda have to be purposely chaotic a little bit in the finer details. So you may be wondering, I don't know how to make a face. I don't know how to do it. It's so confusing. It's my worst nightmare. How could you do this to me, Sarah? Well, here's some easy things. First of all, the circle of the head, all the way up here, right? Okay. So once you have that a magical imaginary circle in your head, then the ears and the eyes are exactly at the halfway mark. Okay? So we have that, that is our first line here. I'm going to use this brush for that. So here we've got a big fat eyeline. Okay? Then we have from here to the bottom of the chin, cut that in half. That's going to be where the bottom of our nose hits. Okay. So now I have that. Okay. So there's the bottom of our nose to the chin. The halfway point. Those are our lips. Okay. I've seen people kind of adjust the lips, but typically the cupid's bow of the lips is going to be on that halfway mark. Okay? So in many cases this may be the time to pull out a pencil if you're really not sure, sketch out a face first. The other option is just to draw in very lightly the lines and you can erase them later. Or let's say you're like in a total panic in you're like, Oh my gosh, I can't do this. This is not my art journey right now. This is way too much for me. In that case. Go ahead and take a piece of tracing paper, okay. Trace out the outline of the face and play with it until you're happy. Okay? Then you can go over here and you'll know exactly the proportions and where to put them. If you really want to get like crazy precise with it, then you can color the back of the tracing paper, put it down, trace it onto your face again and you'll have an outline, just like we used to do in, in elementary school. Okay? There's a lot of ways that you can get that face perfect, even if you're concerned that it's not going to work. So what I'm gonna do now is I'm thinking we're gonna do a little more. I then I prompt promise do previously just because I like how this is going so much. So I am going to take my dark brown. Okay, so that's the brown with just a touch of black on it. And I am going to trace in. I always start with the upper lash line. When I start to draw my eyes. And you can see it's not perfect. But that just goes with the vibes of this painting. So I basically go all the way across. And then I turn up a little bit and then I just flick the end going up a little bit to get what those big eyelashes are and get those painted in. Okay. At this point though, I will say that like even though I know where this is going and I know I have this down and I'm very confident and I'm like it's going to look good because the rest of it looks amazing, right? I'm still having a little bit of anxiety because faces are hard. It definitely is not the easiest piece of the painting and you get so far into a painting before you do the face. And so you're so afraid of ruining it that it can cause some definite like maybe I should just stop here. Maybe she should just have no face. That would be fine with me. But like, I urge you, trust me, you can do it. Your face will look fine and your next phase will have better ear. Next phase will look better and your next phase will look better. And like ITIL, surprise you every time. Because I got to say I've been drawing faces religiously for about, I want to say a year and a half because I wanted to be better at faces specifically. And like, every time I paint one, I'm just like, wow, that worked. Okay. Yeah, cool. Okay. So actually before before I tackle the rest of the eye, Let's finish out the face and then you can see what I was building up to this whole time. And then if you want to get more crazy on the eye, we can. Okay. But see technically that is a happy squinting. I okay. So if you want to be done right there, you can. Nobody will judge you. If it's your painting, It's probably looking awesome by now. So I'm taking some of the red and then I'm also taking some of the fleshy pink color just because I don't want it to be like ruby red lips. But we're going to just take our half inch brush and we're getting a cupid's bow right there. Remember I said right at the halfway mark should be the bottom of your cupid's bow. Okay, and then what I like to do is kinda like go like straight down and straight down. Okay, so we have two mountains, k and then I just like to spread out the mountain until it looks right. Which I can't tell you when it's looks. Looks right. Because sometimes I don't even now. And then you basically just do a U-shape underneath that. Okay, Now at this point, it looks a little cartoony, right? So I am going to take just a little bit of the dark brown. Get it? Well, actually I guess that was the dozen medium brown from our previous steps. And then I'm going to take this and just get the bottom edge of the upper lip. I feel like that rubbed off just a little bit of what I was going for. Okay. I'm going to leave live like that. Okay. So at this point, if you wanted to be done, you can be done. You have a whole face. And that could be, that could be all you do. You can now add one last finishing touch, which would be the polka dots. And so I'm doing this just with white. And you can do this with your round brush. Unfortunately, I set my well, there it is. I set it down and I was like, where to go. So I just grabbed whatever was nearby. And because I don't want to have to do like a second layer on this. I'm literally just making sure that the paint is heavy enough to cover. Okay. Which means this also if you're going to continue working on the eyes, is going to be a danger zone because you do not want to bump the wet spots. Because they will stay wet a little bit longer than the rest of your piece. One of the things I noticed on my earlier piece is that they really didn't move the polka dots to imply the wrinkles of the bandanna. The wrinkles of the bandana are literally only implied by the shape. The fact that it has these angles and the fact that it has like to wrinkle marks right on the side. So I actually left out the wrinkle marks and decided to just add the polka dots n because it didn't feel like it wasn't necessary. You can tell it's on her head. Okay. So they're adults and add one to the side right here. I'm just going to mess up some of the symmetry a little bit because I don't want it to look like I just went through Bert, Bert Bert me know. So we've got a pretty good Rosie, the Riveter going right now. I am pleased with it. One thing I'm going to do though, is I'm gonna take a little bit of the brown and a little bit of the red, mix that together. And I'm going to use this color just to define the edges of the knot. Well, remember we just made a dangerous with the wet white paint. So if you want to wait until that dries, that would also be pretty good advice. I'm of course, not following my own advice and just charging ahead anyways. There we go. So you just have a little bit of definition. Okay, so now the moment I alluded to earlier, which is if you guys wanted to add a little more detail to the eyes, okay. So I'm gonna make sure that's in red on this brush before I do not want red eyes. So make sure I clean that off really well. Dab it on my paper towel and then I'm going to take just the number. And then some pupils does not need to be perfect. Because I've, I've noticed that the more symmetrical you try to make it usually the worse it goes. So instead, I have kind of embrace the idea that no two eyes are really that similar. And by doing that, you actually really improve your chances of getting it you even looking. And it will deceive the eye because the only person who's really being that critical of the measurement is you. Okay, So I got just a little bit of paint in their own area. And so I'm just patented dam with water so that it looks right chest. If I told you it's a danger zone. Okay. I'm actually not happy with the lines. Let's see if I can just take the whole thing off. Try again. That's why it's really important that you're under layers are still are dry. Because if it hadn't been dry, I would have been scrubbing off like half her face. Keep doing that. Okay. I'm actually just going to assist myself. Okay. So now you want to look for whichever brush is going to be finished at the end. And we're going to add some sparkle to the eyes. Yeah, little Fargo, Fargo thoracolumbar goal. Okay. Now you're going to want to test your brush out to make sure you don't have any excess on your brush from your other colors. But we're going to pick up some white and we're going to water it down because nobody really wants the whites of their eyes to like glow. So with some very watered-down paint, we're just going to add a little bit on each side of the pupil. I think on my watered it down. Just a hair too much. And so you can go back with a little bit darker. You guys probably thought, I didn't notice that I got some white over here. It just a wet paper towel. Get that off. Get off of here as well. Okay, So at this point, we can add our letters. So I'm going to take. My half inch brush. And we're going to take white again. Hi. Okay. And there you have it. If there's anything of that you still wanted to play with, mess around with. If you don't think it's done, it's not done. But that's basically all the steps to complete it. So now it's just a matter of figuring out what works for you and when you think you're done. Okay guys, here are a couple of hacks that you can use to complete your painting if you're still having a little bit of trouble or if you just want a particular look. So I did the lettering in the video by hand just because I was like in mood in the moment and I was loving how painterly it looked. And that is totally an option. But if you're like, Oh my gosh, lettering terrifies me. I included a template that you can print out and just trace onto your painting at the end, you can, even if you want super precise letters, use a white paint marker, which is just a little more easy to control than say just white paint and a brush. The other thing is, is if you're still struggling with edges or you're trying to get a line on the eye, right? Or anything like that. You can use a tool that I had in the supply list, but I didn't actually end up meeting in my final project. And it's totally up to you, but it is the Copic brush marker. And it can help you add definition to those parts of your painting that you mean definition on. If you're not used to working with a brush pen, I would suggest making some lines on a piece of paper before you begin, because that'll help you to kinda figure out how much pressure you need to create the thickness of lines that you want. If you're like, I really dig the fact that it's like so painterly. But I'm just struggling with a little piece here and a little piece there. Then you can also use a step below pencil. It'll give you a nice black line, but it'll be a little bit softer than the Copic marker. So that is it, guys. We are done. That is the course. I'm so excited for you guys to have painted to your inner Rosie on definitely share them on social media. Let me know I want to see them. I think it turned out so good. And, you know, teachers don't always have excited about the end result, but it actually did end up a really good. And what I like is that the first time I painted it, I painted it with my own color scheme and I simplified the face. And this time I kind of really went for it. So you can see there, there's growth between the Rosie. Rosie is, so you definitely don't have to paint just one. You can paint multiples and definitely see the growth going every single time and really get to know this character and get to know yourself through this character. So by painting your air Rosie, you're really kind of finding the parts of your own femininity that you're proud of and want to paint into your paintings. So thank you so much for joining us. There are more courses available on Sara Donna if you enjoyed this one, if you have any questions, go ahead and shoot me an e-mail, I would love to answer them. And that's it for this course. Thank you. Bye.