How to Paint a Screaming Mouth | Kristy Gordon | Skillshare

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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

6 Lessons (44m)
    • 1. Introduction

    • 2. Materials

    • 3. Construction of the Mouth

    • 4. Color Mixing

    • 5. Demo: Mouth Scream Color Lay In

    • 6. Demo: Mouth Scream Refinements

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About This Class

In this class you'll learn how the mouth changes to convey the expression of a scream. Kristy will guide students through the creation of a well-structured painting of the screaming mouth with convincing colors. We will begin by discussing the construction of the mouth, to get accurate structure. Then we will move to color and concentrate how to mix colors and finally how to add details like lip gloss and highlights. You can use any medium they like in this course. Kristy will be doing the demo in oils and will provide a suggested supplies list for those interested in using oils.  By the end of the course you will have a painting that you’re proud of as well as a solid understanding of how to paint the mouth in a screaming expression. The beginner will learn fundamental principles such as how to mix colors and render form modeling. The more advanced student will discover how to take their work to the next level and achieve the finish that they desire.

This class is demonstrated in oil paints, but can be applied to acrylics as well.  To apply these techniques to acrylics simply replace the "Walnut Alkyd Medium" and "Solvent Free Gel" with "Acrylic Gloss Medium" and use acrylic colors instead of oil paints.

Meet Your Teacher

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Kristy Gordon

New York Based Artist And Teacher


Kristy Gordon has twelve years of experience teaching and conducting painting workshops, lectures and classes throughout North America. She is an adjunct professor at the New York Academy of Art and has taught at numerous schools and academies including the National Academy in NYC, and The Academy of Realist Art in Ottawa and Boston. Gordon has exhibited her work in solo and group exhibitions throughout Canada, the United States, Europe and China. Her work has earned numerous awards including the Elizabeth Greenshields Foundation Grant and an Exceptional Merit Award from the Portrait Society of America. She has been widely featured in magazines, art publications, radio and television shows, including International Artist, Fine Art Connoisseur, The Artist’s Magazine, Southwest Art ... See full profile

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1. Introduction: Most subtle and fleeting aspects of portraiture is learning how to capture dynamic facial expressions. In this class, we'll take a look at how the muscles of the face moving contour to express the dynamic facial expression of the mouth screening. I'm Christie Gordon and I've been a full-time artist since 2004. I've shown my work in galleries across the United States and Canada and Europe, and taught classes in schools like the New York Academy of Art and the National Academy in New York. In this class, I'll start by showing you the materials that I'm using. You can actually use any materials you'd like for this class, but I'll show you the oil palette and brushes that I'm using. And then we'll take a look at the basic construction of the most sila have an understanding of the anatomy and the basic structure of the mouth before we look at the way that it moves and changes to express the dynamic facial expression of The Scream. And then before we actually dive into the painting, we're gonna take a look at how to mix any color. This will really prep you so that you understand color mixing before you dive into the painting. Then I'll walk you through every stage of developing the both scream painting. I'll show you how I start by getting the initial placement and construction of the mouth using just dots and lines and then create a color lay in to get the basic late. So I didn't shadow side first. Then we'll take a look at how I blend and render the form and add the specular highlights like lip gloss last. So let's get started and I hope you enjoyed this class. 2. Materials: So in terms of the materials I'm working on, this glass gray palette by New Wave and glass palettes are really nice because you can mix on them, paint with them, and then scrape it off at the end with a razor blade. And then I really like the gray pallets or wood pallets to because it actually helps with mixing. It's more similar to the color of your painting. So it's easier to mix the tones on a gray or a word palate than it is a white palette. And as far as the colors that I'll be using, I'm using a slightly more limited palette than I usually use. I've just removed the yellows and the greens from the palate to just simplify for the flesh tones that we'll be using. So basically we've got some premix colors over here, which I'll show you and talk about more in a sec. And then I've just got the pure oil pigments. I'm using Lucas paints from Jerry's arts drama. There are really high-quality paint and they're also like, by far the most inexpensive that I found. So I really like them. And so I've got Titanium white, cadmium orange. This is actually naps all red because there's alizarin, permanent yellow, ocher, burnt sienna, and ultramarine blue. This is actually a Prussian blue. You can kind of see if I mix, it looks black at first, but if you mix a bit of white and you can see, and it's a really rich, saturated blue. It's really beautiful. I've just recently added that to my palette. Then we've got Mars Black. And so in terms of the premix colors, that will do this 1 first, this is what I referred to as my base shadow mixture. So you can see proportionally more cadmium orange and just a little bit of ultramarine blue. That's this one, not the Prussian blue. And I'll just mix it up. We'll see if the proportions are right. But basically it mixes to a greenish brown. And then I've got a recently added pink to my palette. So I'm using some of the naphthalene ring, which is mixes to a really nice pinkish color. Pink out of the tube is shockingly expensive, so you can just mix it up this way. I find it really useful to have this color on my palette. And I'm just using a palette knife to kind of mix up the colors. I'm wiping my palette knife in-between with a blue shop towel. The next color is a mid-tone gray. So mid-tones kinda like the color of my palette. I'm using a bunch of white and just a little bit of Mars Black. Just mix that up. It should be like a mid-tone. So I creep up on the amount of black because the black can be a really intense pigments. You don't want to start with too much. And once you mix it up, you can tell whether you need to add more. Actually, that's about the color that I do like it to be. It's a little later than this palette, but that's, that's an array. And then the next one is a blue, blue mixtures, what I call it. It's a lot of white. It's a little bit less of the ultramarine. And then the next one will be kind of what I call like my base flesh color. And actually this color will work for all skin tones. It's just a base that will be tinting in various ways for various different shadow effects, et cetera. And basically it's made up with titanium white, so a lot of white, a little cadmium orange, and just a teeny tiny, tiny bit of this blue mixture. So I'll just mix that in. And again, kind of creep up on the amount of blue mixture. It can get really desaturated. It if you add too much. So you can always add more, but just start with like less than you think. And I'll it so make sure you use enough orange for this. I like to have this base, the so-called base flesh color. A little bit on the dark side because it's really easy to add white as you're working, but it's a little bit harder to deepen the color as you go. So this looks a little too saturated. I'll mix a teeny bit more of the blue mixture and the blue extra basically just d saturates the hotness of the orange. So that basically shows you the palette I'll be using and I'll be working on this JSR board today by ampersand. And this is an amazing surface to work on. It's not too slick, It's got a little bit of truth to it. And today I'll be working on an eight by 10 panel. And for my medium, I'll be using this walnut alkyd medium. I really like, well that alkyd medium because it has what's called a secretive effect, which means that it helps the paint dry a little bit quicker. But you can also just use linseed oil. In terms of the brushes I'm using, I'll be using a range of two to 12 sized bright brushes from trachoma. I've actually got a brush set put together for you guys, for anyone who wants to get a new set of brushes. Some of them are bright, so which have this square tips top. And the thing that I really love about that is that you can use the leg wide part of the brush to get like a wide stroke or you can use the narrow part of the brush to get a very thin line. Or you can use the corner of it to get like a little dot c. You can get like really detailed with this brush. And they've got like a nice spring to them, but they're also synthetic so they're fairly soft so they don't leave Lake, granular sort of strokes. And then I also have these filbert and I use them a lot for blending. And you'll see in the videos, they just don't. There's a, there's a couple of different sizes, a smaller one and a medium-sized one. And they're just really nice for blending and, and that sort of thing. And then I also have this one. I just have one leg very small, round, which is good for like the most extreme sort of a detail work. And then lastly, I also have these prints to grain or brushes. They're not included on the said. These can be a little bit difficult to find. Sometimes art stores actually have them, so check the art store near you. And they're called graders because it's like wood grain. They have some long hairs and some short hairs. So they make lake a lot of little lines like side-by-side, so they're really good for hair and eye lashes. I've got a three quarter inch one. This is a half-inch one and sometimes I'll even have a quarter inch one for doing leg, especially like eyelashes. So to get those the best way is probably to go on Amazon and I'll include a link to that and you can just order them on Amazon. So these are separate from the brush set. So get your materials together and let's get started. 3. Construction of the Mouth: Before we get started, let's take a look at the basic anatomy of the mouth. So get your handout out and just trace along with me as we take a look at the construction of the mouth. So in terms of the anatomy of the mouth with the upper lip, we've got the tubercles here, which is kinda been abandoned. The upper limit, we've got the rings of the upper lip. On either side of the upper lip. We've got the filter, which is the little link deleted above the upper lip. And then the lower lip is made up of circular fat pads. So you get like a little divot in the center of the two, and so on, constructing the lips and just trace along with me. You'll start with the center line of the lip and you'll kinda go horizontal. Angled straight line going up, angled straight line going down, angled straight line going up again, this is like an M angled straight line going down. And then that little horizontal note to anchor the lips. Even if you don't have that horizontal note, it's going to look really frowny, you know, so this just keeps it kind of a neutral expression. And then constructing the upper-left. You'll kinda do this curving, angled straight line going up, down, up in this curving angled straight, going down with the lower lip. You don't want to any definition on the edge of the lower lip instead, the definition to the lower lip will come from this shadow underneath the lower lip. And so if you're painting, if you're painting this, you know that for example, you'll probably use like a base flesh color with just a little bit of cadmium red added for the lower lip. And the it'll be similar in tone to the flesh color that's right beside it. And then you'll kinda take a brush and wiggle across those two notes to really soften that edge. Sometimes you'll get a little highlight that it will occur right there. And then the upper lip, if you're painting, it will be more of a purplish, reddish brown color. And it gets darker, darker, darker as it rolls into the line of the upper lip. And all of the edges of the lips will be pretty soft. So you kind of wiggle your brush, you're kinda cross hatch against the edges, soften out all of these edges so they don't look cathode, especially like lose this orange. But this center line can be nice and crisp. They corners of the mouth or kind of fade out to this soft edge, maybe a little bit cooler if you're working with color, sort of muscle tuck at the corners of the lips. And then with a three-quarter most, you'll basically take the perspective which is horizontal from the front view. And now it will be receding to right, which is way over here. And everything in the face, it'll be kind of receding to that vanishing point. So the eyes, the nose, everything's kind of receding to a vanishing point. And again, you'll start with the horizontal known angled straight line going up, down, up, around the tubercle of the mouth, down and then that little horizontal to anchor it in at the bag. And then the lower lip is constructed with two circular fat pads that the divot between the two and then that curving Horizonte, that curving angled straight line to describe the wing of the upper lip cutting down and the curving, angled straight line to go back. Now the horizontal distances of these are getting less wide as you go back and space to get that receding into perspective. And again, no edge on the lower lip. And instead that definition to the lower lip comes from the shadow underneath the lower lip. And with the profile of both, you'll again start with this horizontal note, angled straight line going up, angled straight line going down. And then with these angles at the front here, these, you'll make really clear and you'll wanna get them really sharp. So this cuts off at a nice strong 45-degree angled cutting up. And then kind of swoops in under the nose into the philtrum. And this is a curving, straight line going up and then cutting down. So it's kinda like this half of the most. And then the whole upper lip will be in shadow. And it gets darker as it rolls into the line of the central line between the lips. And it gets really soft edged as it fades into the muscle tuck at the back, and then with the profile edge on the front of the lower lip. It sort of overshoots a little bit and then cuts down at a certain angle and then cut under the lip and out into the chin. So these angles you can make really sharp just like this slide. But again, all of the other edges on the lips will be really soft, especially this edge which will be completely lost. And the definition to the lower lip comes from the shadow underneath the lower lip also been no sits half on, half off the face. So you can see that the field term comes out at like a midway point horizontally on the nose. So if you position the nose too far off the face, it's going to look too big. So you can see from a true profile that the nose basically sits half on her half of the face. So you hope that helps you to understand the construction of the mode. 4. Color Mixing: So before we get started, let's take a look at some of the principles of color mixing. So there's basically three things you should be asking yourself as you assess color. What's the tone with the hue and what's the saturation? So tone basically means the lightness or darkness of a color. So on this grayscale value range, with one being like white and nine being black. Where would you place the overall light side on this tonal scale? So not the lightest note, but the sort of overall light side there. What tone would you roughly say? Yeah. Yeah. I kind of think that's about what I would think too. It's like it's definitely not that that's too dark. I would say it's like this. Maybe it's a parent, you know, somewhere around there sort of is that what everyone was kinda feeling? And then there's Q, which is like red or orange or green. It's like the color of the color. And then there's saturation, which is like the intensity of the color. If it's like neutral and light gray or if it's like really saturated, like orange and like brown would be like a sort of desaturated orange. Does everyone understand what I mean when I say desaturated or saturated? Yeah. So with the flesh colored ball, like in terms of the color like the hue, what do you think is closest to what it is like the hue, what hue? I think so too Exactly. So we know that it's kind of a light to middle tone and I think it's like an orange color. So let's start with some orange. And there's three, are basically four ways to desaturated color. So it's not that saturated, right? Like you can see that first of all, this is too dark tonally, right? Does everyone agree that looks too dark compared to that? And it looks too saturated to write like really vibrant, really intense, that doesn't look nearly as vibrant and intense. So the different ways to desaturated color, one is adding white, just adding white desaturated color. Titanium White has a cooling effect when it's mixed with other colors too. So, you know, when it's mixed with this warm orange, it's good to sort of D saturate it. So yeah, adding white desaturated, adding black D saturates, adding brown D saturates because Brown's already kind of a desaturated orange and also adding a color that's opposite the color on the color wheel desaturate. So if we look at this color wheel here, see you just spin it around. So there's an arrow going through here. So if we look at Orange and then across the color wheel from orange is blue. So if you mix like a little bit of blue in that'll desaturated as well. And that's the kind of reasoning behind this color here is we've got the flesh color, which we've premixed and then we've got a blue that's mixed up to a similar tone that's actually in this case slightly darker, but it's close. Maybe it would be better if it was the same tone when you mix it. And so if you add a little bit of this blue to our orange skin tone. Blue and orange are opposite each other on the color wheel. So it'll desaturate the skin tone for places where you see the color being too saturated. And I won't adjust the tone so it'll keep it the same tone. So in this case, right now, let's start by just adding white. And you can see how already it doesn't look as saturated, right? So what do you think? Does that, what about the tone of that compared to this? Do What do you think? Is it too light to dark? Yeah, I think it's too dark too. Does everyone agree that it looks too dark? So let's add some more white. And we're going for the overall like the body of the lights and not like the lightest light, but sort of an overall note just like we do when we're doing like a color block in. So what do you guys think about the tone of that? Yeah, I think that's pretty good too. Let's just start by putting some of this on here. But what do you guys think about the saturation of this? Do you think it's the right saturation? Do we need to desaturate it more? Yeah, I think just like the smallest amount. So I'm just going to mix a little bit of gray in basically. Basically I've got, I've actually created this little value scale here, which I'll talk about more in a second, but it's basically white with a teeny tiny bit of black. And I'm just mixing that in there. So for like an overall light side, I think that this is pretty good. And when we go into the lightest light, I think we'll be able to see better. So I'm just going to draw the basic shape of our sphere here. No. And actually I'm going to show you after we do it this time, I'm going to do it again a different time with completely different colors and it's going to look exactly the same. So yeah, good question. And no, we could definitely have used the blue and it would look exactly the same. And it's like you might just makes a little less blue compared to the very small amount of gray that I mixed because the blue might have a stronger desaturating power than the graded. But you'll know that as you're mixing it. Yeah. So yeah, part of the goal of this lesson is to show you that you don't need to memorize a recipe for each thing. We can mix the same color like five different ways. So it's pretty cool. So let's go now into the shadow side of the top peer. This sort of warmer shadows sign at the top that you see over here on the right. What do you guys think in terms of tone like on this value scale? Yeah. Like maybe like these two, you mean? Yeah, I think so. Yeah. And the other thing is always flip your eye back and forth between the two things. It'll help you see that jump in tone better. So that's important. So yeah, I think it's, you know, it's it's a good amount darker than the light. And in terms of the color, what kind of colors do you see that top right-hand shadow side as being and it's pretty neutral. When a color is pretty neutral, it can be hard to see like what color it is and you could interpret it in multiple ways. Definitely less white. It's still do you think it's still kind of a little bit in the orange range, it's just like darker and more desaturated. Yeah, that's what I think too. And so something, you know, maybe we could try something like this. So the transparent red oxide, burnt sienna, might be a place to start. This is obviously way too saturated, right? But the tone will. What do you guys think about the tone? Yeah, it's pretty good. Maybe it's a little dark but we'll see it's hard. It's just so saturated, it's hard to know what do you think of it right now. So if we were looking at sort of getting it to be about this color and it needs to be DCE or this tone and it needs to be desaturated. I've mixed this sort of value range here. I'm just going to take from some of the gray that's kind of in that middle area. Start by mixing it in. It might also be easier for us to see when we put it on the canvas. So when I put it on the canvas, now I can see more clearly that it looks too dark actually. To me, compare it to the right side when I'm squinting. And so I think you're right. I think the orange is going to be good. I think orange is lighter in tone anyways. And it's kinda staying in the orange range. So let's add some orange. Let's even add like a little bit of this lighter flesh color stuff just to lighten it a little bit more. And then it's like we make our best shot at it and then try it. The painting that's a good basic color lay in. And so let's go into the bottom and see how that affects things. So what do you guys think of this bottom plane? And the shadows reflect their environment. So since this is sitting on a gray pedestal, it's reflecting the pedestal. So what do you guys see in terms of the tone? What tone like if the light's was here, the darker shadows here. What do you think of that bottom plane on a sphere? The middle one, right? Yeah. It's kinda like it goes light, medium, dark. Right. And then what about the color of that bottom plane down here? Exactly. Sake. Would you say it's a kind of gray almost even possibly that purply gray purple, something like that. Yeah. So we can start with some of our base shadow color. We can make some gray into it. This is like a grayish thing mixing into a into a warmish thing. And we'll just see where that takes us and we know we need to make it a little lighter so I'll mix some white and feel like it looks a bit pinky gray or purply gray III leg, it doesn't look as bluey gray as the table, right when you flip your eye back and forth between this and the tabletop. So let's add I could, we could use either red, I'm just going to use some of this one that's a little more pinky purply. And then you can see it better when you put it into the painting so that looks too dark and too purply, not great enough. Let's take more gray. So I'll lighten it a little bit, wiggle along that line. The last thing I'm actually going to do is I'm going to bring a little bit of a mid-tone gray, which is quite cool. You can't even see it on this palette, but a little bit of a mid-tone gray. And I'm just going to wiggle it along this transition. A lot of the time where the light meets the shadow is slightly cooler. Along this what's called the transition. There's the table top and then with the cast shadow, the cast shadow is like. Darkest nearest to the object that's casting it. And it gets progressively lighter and softer as it moves away from the object. So that gives the sense of it's sitting like on the tabletop having it dark and sharper near the object that's casting it. Okay, so that's like a little sort of color study. And so now I wanted to just do this all again and sort of show you how we could mix something that looks exactly the same but with different colors. So this time, I actually went to last thing. Let's get the lighter lights in. And if you just mix white with a teeny bit of gray into your base flesh color. That gives you a nice color for the lightest light. So the lightest lights are light sources of fluorescent bulb and so it's cool. And that's pretty standard that the light source will be kinda cool. It's, well, white would be okay because white cools the color anyways. But it's not Whitey yellow is what it's not. Yeah. So let's do this all again. So this time, so the first one we used orange and white and gray. And now this time let's try using burnt sienna, transparent red oxide. It's the same color, just called different things by different brands and white. So the burnt sienna transparent red oxide is it's like an, it's like a desaturated orange rate. And we made an orange and then desaturated it with gray before. And so now it's basically the same. So maybe it could be a little lighter, actually, a little bit more white. The same. So when I critique, I don't say add more of this specific color. I say make it warmer, make it cooler because it's sort of making those adjustments based on what you see based on hue, saturation and tone. Yep. And so now let's mix this color on the upper right-hand side. And last time we did it with the transparent red oxide and a bit of gray and a bit of orange. And so this time, let's change it up and we'll use some red and some green. And so again, so red and green are opposite each other on the color wheel. And so we're going to create a warm, desaturated note, basically mixing some viridian green into the cadmium red light. And then we were lightening wit with our base flesh color last time. So we'll add a little base flesh color to lighten it a little bit. Still needs a bit more lightness. And also you can see how it's easier to be able to tell that it needs to be lighter as soon as you put a stroke on the canvas. So that's why you can yeah. Put a drop down and then judge, so you don't need to be like upset if you've put a stroke down and it looks it doesn't look right. You know, it's not like you've messed up. It's just that you've put a stroke down and now you're going to adjust it. And then moving to the bottom part, Let's use blue and orange. So we'll use some of this blue mixture, will use some of this as well. We'll use some orange and some white to desaturate. So we're making that kind of grayish color, grayish purplish. Let's make it a little bit of this green red stuff into it too. We wanted to get a little bit redder, so we'll mix this time I'm using a bit of the cad red. Last time we used the Alizarin permanent. And it just looks a bit too dark, so we'll add a bit more blue, bit more white. And this time for the shadow on the bottom, Let's use blue and brown mix together. Last time I just used white and gray. Get that darkest note in. Actually, let's use more black at the bottom of this one too. I wanted that one a little darker there. This looks a little too warm. I've added a bit more blue into that. And it gets lighter as it moves away from the object there. So that's a basic light color study and you can see how they both look really similar. And they're using totally different colors. And so outlets get this light side in there. So I hope that helps you in understanding how to analyze color based on hue value and saturation. 5. Demo: Mouth Scream Color Lay In: In this video, we're gonna take a look at how to paint the mouth in a screaming expression. So I'm mixing up a color made with Alizarin permanent, a little bit of black and some burnt sienna. And quite a bit of my medium, which is walnut alkyd medium. And I just start to kind of block in the linear construction of the mouth, looking at the angles and the relationships. It's important to remember at this stage that it's easy to erase. So I can, if I want to erase something, I can just dip my rag and oil and just wipe out any, any mistakes that I made. And then I just mix some black into that. I'll re reddish, brownish color that I've been using as it moves towards the right, I add a little bit more Alizarin permanent. So it starts to create a slightly purplish reddish colors and it starts to move into the shadow side of the face. I use some base shadow color mixture, some gray and a little bit of base flesh color. And I introduced that into the right-hand side of the lower lip. And then I mix a color with a bit of cadmium red alizarin permanent, and a little bit of that initial color that we used that had some burnt sienna and black as well. And I start to introduce that into the reddish part of the lower lip. It gets a little lighter and a bit more orangey red as it rolls to the left. So I introduce a bit of gray, a bit of pink, a little bit of cad red, and a bit of cad orange as well. Creating that slightly later, slightly more orangey note as it rolls to the left and just introduced that in the left-hand side of the live. Then as I go into the upper lip, I add a bit more cadmium red and a bit of gray and just create this lighter color to bring into the upper lip. It's more of a kind of pinky, sort of a color. And I darken it slightly as the upper loop rules down towards the teeth and as it rolls over to the right-hand side, I bring a bit more grayish pink IQ sort of note into the basic color of the gum line at the top of the teeth. And I just start to work some edges, kind of blending notes. There's a lot of subtlety that occurs in the transition at that back corner of the mouth from where the lower lip kind of blends and transitions into the opening of the mouth. And then for the tongue, I use some gray and just introduce it into the colors I've been using. So there's some Alizarin permanent, some black and some cadmium red. And I'm mixing some gray into that. And I just introduced this kind of light pinky purply note into the tongue, just darkening it slightly as I move back into space, letting some of the black of the opening of the mouth kinda of lake mix in and introducing little bit more of an alizarin permanent note at the very back of the mouth. Sort of doing like a wiggle stroke, just a little sort of side to side wiggle to encourage the wet and wet paint to blend into each other. So that's creating a nice soft and keeping everything really soft and blended. And then with an alizarin permanent and black, I introduce a little bit of a darker note right into the very corner of the mouse. And then for the teeth, I'm using the shadow color mixture I initially used, which was made of the base shadow color mixture at the gray and a little bit of base flesh color. And then I'm just mixing a bit of our blue mixture into that. And I just start to block in this grayish color for the teeth. Remember that teeth aren't pure white, so we really want to make sure that we get them dark enough so they set back a little bit. And then as I move towards the right and the teeth kinda come forward, I just add a little bit of white in. And so I'm just carving out the teeth, the bright brushes really good for this. It makes nicely chiseled, you know, tooth-like strokes. And, and now I'm just working on the silhouette a little bit using the lip color to just kind of cargo at the exterior shape of the teeth. And then using those reddish blackish color made with Alizarin permanent and black. I'm just kind of getting that sense of the lip rolling into the shadow as it rolls into the right and as it rolls down into the bottom plane. Now I'm mixing some base flesh color and some gray up to go into the light side of the flesh. And initially a start with a little too much gray, so I just add a bit more base flesh color and some white into the color and continue to bring the light side flesh color in. And I really want to be establishing super soft edges where the flesh meets flip. So I'm almost like overdoing it. But that's good. Like at this stage, just letting things like really blends together. So you can see me here using a rag to just wipe out a little bit and yeah, bringing the light color of the lip into that philtrum above the lip and carving back out the shape of the lower lip where it kinda got obliterated with the flesh color. And then I'm just kinda looking to blend places where two colors of wet paint meat. And so I'm just kinda running my brush along them. And I also use this wiggle stroke where it kind of wiggle my brush very slightly side to side as a pull it along the place where the two colors meet. So with lips, you really want to have like soft edges. There is a tendency to make the edge of the lip really sort of sharp and cut out like and that'll just really flatten out the effect of the lips. And so the more it's like you want to blend the edge of the lip word meets flesh, and then blend it again, and then Glenda it again. And so that shows you how at this color lay in stage, you would start by getting a basic light side and shadow side color for each element and maintaining soft edges where they meet. 6. Demo: Mouth Scream Refinements: As we move to refining the mouth, I'll start to use slightly thinner paint and start to add some of the highlights and look at the edge quality. So I'm bringing a slightly lighter tone in through the center of the front of the teeth. It sort of obliterate some of the line separation between the teeth. And I'm starting to introduce a slightly lighter tone as well in the center of the lower lip so that I'm developing the form sense. I'm actually darkening at the top edge. And then I was like lightening in the center of the form, which is just going to give the more rounded impression of the lips. And I'm also darkening down into the very bottom of the lower lip on the right-hand side is where it hits like the richest darkest note. And when I say rent just it's kind of like a certain depth to the color. Like there's no white in it. It's got like burnt sienna and Alizarin permanent and some cad red. I'm also like carving out the silhouette shape of the teeth a little bit more and kind of working some of the edges and the exact forms and shapes of the transitions in the mouth, like the lip area on the right-hand side. And then also kind of refining the shape of the upper lip like its latest in the very central front plane of the upper lip. And then it darkens a little bit towards the edge more so on the right, but still a little bit on the left as well. And I'm kind of working the gums a little bit more, making sure there's like a slight indication of the separation between each tooth. And then I start to go into the corner of the left-hand side of the mouth. It's a little tricky actually because it's like it kind of mixes in to what's there. And also I'm kind of lake. I have like ideas about the paint application and I want it to be, you know, not put on with the form, in other words, running along the shape of that edge of the lip. So you can see I kind of initially blob it on with the impasto light side. But I still wanted to have a distinct edge. So now I've carved up against it and I'm carving out the silhouette of the teeth with this very rich like black, red color. I rinse my brush off really well in between the light and passed on note and this dark node just so that there's no separation. The edge of the lips there it is. It's a little too harsh, so I'm sort of now trying to soften it in, but then mixes, It's a little tricky. It mixes in with the dark note right beside it. So then I cut back against that edge with the dark node. And there's just a lot of back and forth, back and forth on either, either side of that edge. And I know that at some point I'll also soften it out even more. But, but for now I'm kind of working the shape, but working with the colors. And now I'm trying to soften it. Again. It sort of starts out as like a little bit too soft, too blurry. But now, now it's starting to get close to where I want it. And now I'm sort of refining the transition from that corner into the lower, the lower lip there. You can see that with some of those brushstrokes, a kind of wiggled the brush side to side as I put them on. And now I'm carving note like the plane changes a little bit more distinctly like a little bit lighter in the center of the lower lip to give that form sense. Yeah. Even adding a slight highlight through the center and then sort of softening it in. But you can still see that it's later in the center of the lower lip and kinda doing that wiggles stroke on some of the edges to just like blend the two colors that were put in wet in wet, wet into wet next to each other. Continuing to kind of work that back corner of the mouth, which is it's very subtle like we expect to see the back corner but we don't. And softening? Yes, softening lots of edges kind of working the place where the lip on the shadow side on the right rules into the shadow of the flesh tone and softening that edge and making sure the tones are accurate and just the relationships are accurate. I'm going a little bit into the line in the center of the tongue as well. Sort of using my brush in such a way that it blends, blends as it's put down because I'm kind of like lifting it up and they go. I'm putting some very dark, very gray lower teeth in those. I just want them to really set back. I'm starting darker, darker initially. Just so they really set back into the mouth. They don't make pop forward too much. And I'm continuing to sort of work the edge of the lower lip there, it rounds to like a slightly darker little blips sort of overhanging inwards. So I'm doing a soft edge, too little darker note there to just get a little bit more of the clarity to that. Bringing that same sort of slightly darker, slightly desaturated note into the far right edge. And working the top of the gum a little bit. I want to have a sense of just slight, slightly darkening as it moves up to the upper lip since there is a cast shadow that comes down and refining the shape of the upper live on the left-hand side, we see like the redness of the lip just a little bit further down than what I have it. And then I wiggling with that wiggle stroke on the edge. The flesh colored meets the red color. We really want to have all of the edges be super soft in the lips, except for like the line of the opening of the lips or the line of the teeth. But overall, like the outer edges of the lips should be way softer than we think. I'm going in with a slightly cooler note that suggests the philtrum above the upper lip. Right now I'm using my quarter inch greener brush, which is a good blending brush. It makes like sort of little crosshatching type of type of strokes and softening also the far right-hand edge of the lower lip just a little bit. And so I'm working in the center of the upper lip now just sort of smoothing out some of the edges on some of the brushstrokes. Again, still using that greener brush. And now I'm adding a highlight along the top edge. You can see how using the greener brush and the way I'm moving it perpendicular to the shape of the form. So across the form. Although there's an instance where I put it in with the form and I'll soften that in later. There. Now I'm softening it in. You can see how using the greener brush creates kind of like a little crosshatching lake at the edge of the edge of the form. And so I actually with those brushstrokes on the lower lip, I put them in with the form and then I'm wiggling across the form after the fact so that it has a better direction to the brushstroke and more of a sense of form. And again, putting it in with the form is like putting it in in the direction that's easiest actually having it run along the shape of the edge. But if you kind of put it in across the form, it enhances the sense of form and it just looks better. So yeah, I'm, I'm working the tongue, the form of the tongue a little bit, having it get darker and desaturated as it rolls to the left-hand edge. And then I'm going to carve out some of the lightest parts of the teeth just in the center, sort of top like front plane of the teeth. When I do the lightest notes that you can see it's a little bit fit in paint applications. So it's like there's no medium mixed in. It's like impasto application of paint so that it stands out even more. And it gives like a sculptural feeling to the paint. And now I'm going in with some of the little dots and squiggles that are little shapes of highlights created on that sort of wet tongue surface. And so I'm just making sure that they're varied in different summer like like lines, some are just little dots. And putting the highlight in the upper lip, I'll blend in the edges a little bit after. So I kind of introduce it in fairly strong and then just give it a little wiggle and sort of soften it in. Going on again now with an even lighter note in the center of what I just did before and dabbing it a little to soften Indian. So that shows you how I would create the screaming mouth starting with the color lane and then move into the refinements where I work the edge quality and add highlights at the end.