Paint a Gouache Portrait: Zorn Masters Study (part 2) | Hajra Meeks | Skillshare

Paint a Gouache Portrait: Zorn Masters Study (part 2)

Hajra Meeks, School of Watercolor & Wizardry!

Paint a Gouache Portrait: Zorn Masters Study (part 2)

Hajra Meeks, School of Watercolor & Wizardry!

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6 Lessons (35m)
    • 1. Intro & Tools

      2:56
    • 2. Zorn Palette Color Wheel & Tints

      3:49
    • 3. Tiling Method for the Head

      8:37
    • 4. Refining Tiles on Head

      8:31
    • 5. Painting the Arms & Hands

      9:10
    • 6. Final Touches + Recap!

      2:16
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About This Class

Hey Watercolor Wizards, Hajra here!

Create a historical portrait painting with me in watercolor! This is part of my Masters Studies series, and uses Swedish Master Anders Zorn's oil painting as a reference--painting reference and my sketch are provided on Skillshare as attachments. We’ll be going at a relaxed pace (just a bit faster than real-time to keep it lively!) with lengthy viewing time and instruction, using wet-on-dry painting techniques. Suitable for beginning to advanced artists.

About me: I'm a former university lecturer and Author-Illustrator, and you might know me from my channel of Watercolor and Wizardry on YouTube, or from my Patreon tutorials where I share epic watercolor, gouache, and ink instruction, or more recently from my shared art on Instagram!

Thanks for parking your brushes here and let the epic art adventures begin!

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   Copyright free Soundtrack:
 Title : Invitation to the Castle Ball by Doug Maxwell 

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Hajra Meeks

School of Watercolor & Wizardry!

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***UPDATE: I will not be posting further to Skillshare as they treated me in a horribly unprofessional manner; if anyone wants to see more of my art and instruction, please follow me on Instagram and Youtube. My new REAL-TIME, REWATCHABLE, ART CLASS VIDEOS here:  https://www.youtube.com/user/hsmeeks/community

 I'm an Author-Illustrator and former university lecturer who creates and posts nature, botanical & fantasy Illustration. You may be familiar with my Youtube Channel of Watercolor & Wizardry where I post epic watercolor, gouache, and ink tutorials. I brought my in-depth art technique and art history education to some Skillshare classes, and I hope you enjoy the 6 I posted in the past. 

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Transcripts

1. Intro & Tools: watercolor wizards harsher here. I'm a former university professor, and you might know me for my channel of water cooler and wizardry on YouTube and patri on where I share our history, our creation and instruction in watercolor washing make. Today we'll be painting the second half of a master study of a female portrait from 1900 by Swedish master Paynter Andrew Zorn. In a previous skill short tutorial, I covered how to paint the background and textiles and wash in this conclusion all demo and discuss how to paint the face, arms and skin and also review the Zorn palette on a color wheel. Thanks for for fear brushes here and love the epic painting Adventures begin. I have a previous Sauron widow sketch and reference download on Patri on, as well as a free companion video demo on YouTube for My Storm Widow study from last year. If you're also interested in another Zoran master study and watercolor, check out my YouTube videos and patri on post on washes. Well, for more on this opaque watercolor medium, I'll be using Wash for this demo to emulate the more opaque look of Sauron's oil painting portrait of Elizabeth Sherman Cameron. So start with a freehand drawing from the reference painting I provide, or you can trace and transfer this. Get Dr Provided on skill share and on Patron. My sketch transfer and freehand drying process are not covered here, but all that's available for free on YouTube and some of my videos if you want that information. And, of course, it would also be super helpful. Toe watch the first half of this demo on skill shares, so you have the background elements and the gown done before we work on the face, skin and hair, and so you can learn more about Swedish painter and resort as far as supplies go. For this project, I use an HB pencil and soft eraser, a synthetic quarter inch angled brush. A few round brushes with fine points. The one I used for this demo is gonna be the size one Divinci Travel Brush. You can also have out a quadruple zero spotter brush for tiny details if you need it. But I didn't end up using mine for any part of the painting. A cloth towel, a water cup with clean water. Try to have at least two sections of water, so you have that one has your clean mixing water and one that has your dirty or rinsing water. That way, when you mix your colors, you don't get the contamination from the rinsing water into your paints. A paint mixing palette has sketch done separately and transferred to your painting surface . If you aren't drawing on it directly. March is hot or cold pressed £140 watercolor paper, wash paint colors and white, black, yellow, joker and vermillion, a quartet that's known as the famous Orrin Palate. You can use whatever brand of wash that you like. I'm using crater color, awkward bricks, which are usable as a light, fast pan wash option. Zorn didn't always use his or in palette of four colors, but he was known for using it often. Even when he did use it. He still used additional accent colors as needed. The Zoran palette works easily for the full spectrum of skin colors, as we have a red, yellow, white and black to make diverse skin mixes for failure, mediums worthy and dark skin 2. Zorn Palette Color Wheel & Tints: so to review our color scheme, I'm going to start by creating a color wheel using the four Zoran palette colors. Yellow Oakar is an opaque, warm, earthy yellow that is a yellow for the Zorn color scheme, and I'm gonna put it on this wheel of 12 colors on the outer side and for the red, I'll be putting in a warm rich for 1,000,000 while I'm at it. Else. Watching my red, orange, orange and yellow, orange secondary and tertiary mixes between my red and yellow hues, ignore the other colors on my tin lid. We're only using the four colors from the Zoran palate. Those other colors just happened to be out from other painting projects. So far, this is looking like 2/3 of a normal primary triad consisting of red, yellow and blue, and the next color is where it gets innovative and fascinating. I'm gonna use Ivory Black not as a mere neutral, but to stand in for a blue color so you might recall my detailed limited color scheme videos and information from YouTube and Patri on post. So the top of this page I have a wheel with traditional primaries, a vibrant yellow, blue and red, and we get traditional, vibrant mixes from that around the wheel, with my neutral mixes of all three color shown in the center. But I also showed nontraditional triads in that video, where I used neutrals like brown Oakar and Payne's gray as substitutes for vibrant primary , red, yellow and blue. And it resulted in a low intensity grew. The triad. I did something similar in a second triad were replaced red with sepia for left. The other two primaries vibrant yellow and blue, and again, it brings down the intensity of the colors, in this case just for part of the wheel. So this your palate is similar to these nontraditional wheels where I have black substituted for the blue because I every black has a cool bias to it. It is usable as a super low intensity book, so mixing the black with the yellow is gonna yield a very low intensity green mix, which is subtle but still discernible as I create yellow, green, green and blue green mixes using the Oakar and black in various percentages. And when it makes the red and the black, I'll get you up a very low intensity violet, which you can see a Zeiss watch in red, violet, violet and blue violet mixes, increasing the black and the red mixes I get to Blue Violet. Using nontraditional primary schemes like the Zoran palette makes colors more interesting and diverse and important, a very unique mood to a triad versus always using traditional primaries. Black is already the darkest you can get, so there isn't any need to plop neutral mixes into the center of the wheel, really. But I'm still gonna show, if you with a yellow or red emphasis. And remember Gua Sha, which is just opaque. Watercolor, generally uses white to make tents or lighter colors, rather than just diluting the paint with water. As with traditional transparent watercolors, so white will be the fourth color in a Zoran palette, and we can mix it with any of the other three colors and their various mixes to create various pastel tents around or wheel. Making a wheel of any limited color scheme is never a waste of time and lets you see all your possible colors. Game mixes at one class, and you'll learn more about how your colors work and mix on a wheel than if you just put them on a painting. I'll be using mostly the tiling method of putting in little color fragments or tiles instead of the middle method, like I did in part one of this demo. So I mixed my tents, my various colors plus white on my palette as needed. I using quite instead of titanium white sink white, is also called tenting white because it's less opaque than titanium. So it's useful for making tents where the white is not too overpowering and lets the color retain its strength. Titanium white, on the other hand, is fully opaque, which means that it has great covering power. That's why I used titanium white for the white cherry blossoms in the background on the wallpaper and the light floral print on the red sofa in part one of this demonstration. Now, if I had using quite that, I wouldn't have covered the darker colors below that white fully, but for mixing tents for colors for the skin. Here I am using Zanker tenting white because it's more translucent and it's gonna leave me with more color, strength and intensity 3. Tiling Method for the Head: And then I'm just gonna consult Sauron's original painting as my reference and just start putting in little color tiles, sort of like those paint by number type coloring pages we saw in stores as little kids. If I see purple in the skin somewhere, I put down a violent pastel color tile. If I see yellow in the hair, I add okra Thailand around the block. You tone there, and I'm going to just keep going with more little tiles and blending their edges. If I see a softer look in the reference, the's tiles can be left hard edged or blended out at the seams for soft edges with your brush. Whether the washes wet or dry and the color of any tile can also be changed with another color. Overtop, as any adjustments are called for, I'm applying wet paint on dry paper or whether on dry for this whole study. Just as in part one of this tutorial with wash their pay paints, it's more on the surface rather than sinking in as well transparent staining watercolors. And that's why wash edges can be easily softened and lifted when wet or when they're dry. What on dry is the most efficient way toe working wash, since it can't be glazed or applied. What and wet after the first layer because it's thick, opaque and sits on the surface of the water or watery paint over quash will make it lift and become muddy and again and applying mid density or thicker. Wash the top layers of wash well, mostly or completely cover the lower layers as a bonus. Working what on dry gives more control in small spaces or detailed areas like the face. I didn't feel like the hair needed quite a bit more yellow warmth in the highlight areas, and if I just used black, it's not gonna have any glow. Plus, the wallpaper is yellow, so it makes sense that there's some yellow reflected light back onto the hair. And then that made it obvious that I need the cash shadows long wall to be less black ray and more brown. So I adjusted those with more yellow as well. And, as I've said before, pay attention to temperature contrast and not just value contrast values at your realism, but color changes at the mood and liveliness. All my school shirt, tutorials, air sped up to only about twice the speed. So it's only slightly faster than real time. Still at a leisurely pace where you can see all my brush strokes clearly but not so slow that it gets tedious or cumbersome, - painted in the eyes in black, with just a touch of red to make it a warmer black. And I'm using just the tip toe of my round brush. You can use a smaller brush if you need to, but I managed okay. With a size one round, I left white spots for the highlights in the eyes. But if it's easier, you can paint the whole iris black and then come over top with white paint. Since this is wash painting and you can totally do that. Zorn also had a bit of lighter color at the bottom of the irises. But this space that I'm painting is so small that I just painted and has a solid color dark iris. The eyelashes air the same almost black color. You see shapes on the outer eye areas to imply those M s comeback and soften them in a bit . Also something lines for the water lines and tear ducts and L shapes for the eyebrows. Extend the no shadow in a thin line down the left side of the paper. Come back with a clean brush that's just barely damp with clean water and gently brush along my edges to soften the brows and lashes and the other lines. It's gonna immediately make everything look more riel and three D to have that softer, radiant effect. We'll add some right Brown's as needed to make the nose look more like a Caucasian skin tone. I wear the same with more flush tents on the face. Just observed the reference and see where the color is more yellow or orange or pink or red for the lips and put all those color tile fragments and like little puzzle pieces, this is really fine work because my whole painting sizes just seven by 10 inches. But it's gonna be easier and not have to be so delicate if you paint this study larger. I like this size for speed and ease of filming it, but you can paint at whatever size works for you, and remember, you don't have to to the full painting. You can just do the head or the figure without the background. It's your choice to do as much of the master study as you want. Tiling is gonna initially looked garish and severe and really ugly, sort of like the historical fresco restoration failure. But unlike that failure, this is going to get better. So just be patient. Once the color placements are all tiled in, I could go back to soften the edges because it's a face is gonna have a lot of soft edges, and then it's gonna look a whole lot less severe and ugly, - and I'm gonna keep coming back in with more tiles. I like tiles or shadow tiles to further adjust the shapes and colors until it looks right to me. I aim for a 123 layers of tiles to get the look right. Like here, I can see the cheeks and under eye area and chin area needs some adjusting in both shadow shape and color identity, so I'll make them whiter or more pink or more orange as needed. This lady's faces a long oval, so I'll keep aware of that face shape while I'm doing my study as well. It's not any different, really than drawing FREEHAND with pencil and erasing mistakes with your eraser. I've just traded my graphite with opaque paint and my eraser with a damp brush or more corrective color over top. And just like withdrawing, some drafting projects go faster. Others take more racing and adjustments for whatever reason. But it's all in the spirit of having fun drafting. And that's easy to do with all these velvety colors, so don't stress and let yourself enjoy it. You'll eventually reach a point of meditation almost as you just put in more abstract tiles and blend and then repeat the process. 4. Refining Tiles on Head: - Once the course is a full density and a passenger on the paper, you'll start to mix and blend with just a touch of a damp brush. Like for painting and oil pains. It's a lovely texture and a velvety soft feeling of the paint in your brush. Usually, facial zones have temperatures of more yellow on the top. Third, more red in the middle third and more violet on the bottom third, and I must follow those general principles here. Zorn didn't make her bottom third chain area with a noticeable violent bias, so I just kept it more orange and yellow like heated again. I think he was thinking of the reflected light from the yellow wallpaper and also making a women's chin to pilot can look unhappily like meals double or five oclock shadow. So the violent jaw area is definitely a tip that's more applicable for men, anyway, especially for lighter skin tones. Go back and soften all later tiles and also the hairline as well. So it doesn't look like she has a helmet on. And with all these later tiles, if I have lost any definition along my lash lines or the brows, I'm just gonna go back in and boost them on also boosted your shadows while I'm at it. Of course, all still need to come back and soften all these new additions around the edges to make them look more natural as well. - I also decided any new tats white across the center of the bottom lash line toe widen the white corny region. Because I can see in the original painting reference that she does have very wide round corneas, - more yellow tiling to tone the forehead and the next job meeting point also, then more softening. - Wait . And then after that, I feel like the yellow bias along the John. That Chin needs even more sprucing. It will really help harmonizer with that yellow background. It's getting there, and it looks a lot near to finish. Just a bit more softening and final color boost for Polish softening selected edges for better visual cohesion that's going to avoid that dreaded pasted on sticker look and also adjusting final highlights and shadows values is needed. - You'll notice that that years are in the red pink middle facial zone, so I've made sure there are more writer shot the corners and now from relative comparison, the cash shadows behind her need to be even a lighter brown that I have them before. So I'm gonna come back in and more yellow to them again, and it really makes some glow and also stand apart from the actual hair and skin areas, and that will help me see that the shoulders need more yellow. So start that skin area off with yellow tile slivers is all just a system of checks and balances, except for this system works better than most political systems. I compare and check my Zoran reference with my own study and keep adjusting for balance until I feel like it looks close enough and values and colors to the original reference. 5. Painting the Arms & Hands: and we'll do the whole tiling process again for the arms, hands, neck and decollete Taj. It'll be simpler and faster for these areas, as they are not rendered with as many colors or value sections. So it'll be bigger yellow and orange tiles for the shadow areas and lighter tents along the length of the arm. Areas with edges on those tiles softened after the tiles are all down, just like before. And it's gonna be a bit more work for the neck and trust area and even more work than that for the hand on the left side of the page. But all the steps they're going to be the same. And we really are Pacifica's neck of the woods here because the face was the hardest part, and we've long left that behind part . One of this Orange study used the mid tone method, so consult that first tutorial on skill share for information on that, and I also discussed mid tone, tiling and gross I painting methods for washing, watercolor and YouTube videos and also on patri on if you want more information. Plus, I have to scale shore videos demonstrating gross I, if you want to check them out as well is a watercolor portrait master study on skills, - Sore nose, famous for capturing the unique personality and individuality of his subject. In his portrait, he did many self portrait so as well as many paintings of his fiancee and later wife, Emma Lamb. He was one of those artists lucky enough to be affluent and respected in his lifetime. And you can probably guess fire the gown that this lady is wearing and the expensive sofa and everything that this painting was commissioned by one of his wealthy patrons, and he actually also got commissions from the White House itself. Zoran ended up painting three U. S. Presidents William Taft, Grover Cleveland and Teddy Roosevelt. Now those are some famous patrons for the dress neckline area. I also felt like he needed more yellow, more pill violet and some white color boosts. The white was mostly to hide the pencil at the edges of the dress that I forgot to race well, way hand on the left side of the paper starts out looking like a real mess when I put the first tiles in E but slowly pull it together by defining thing shadow a knuckle lines and blending those tiles, looking to see if I can make out the implication of inaccurate hand is just gonna be trial and error and drafting. Remember, it's just like drawing and erasing hands are almost as important as faces to get right, since both our body parts we examined more closely for communication cues and thus their eyes are drawn to them in art as well. Soren has one of the hands partially hidden, so we're gonna have to do much for that. And the other than I'm painting here is all there but still loosely rendered in an Impressionist style. So I did get to stop after I worked up to his degree of loose rendering and again like with the face. Hands are an area where it helps to have practiced your free hand skills when it looks like an ugly, nonsensical mess at the start of the tiling. But all the pencil lines have uncovered it can really stress some students out, and sometimes they can't get past that part. But knowing how to draw with some confidence in pencil and using those skills to gradually freehand draw the face and hands in paint is a sure way to get over that stressful chaos of the ugly first stages of faces and hands. Just like with completing the face, working on the other skin areas is gonna prompt color and value adjustments on the wall shadows and on address as well. The wall shadows again, I'll notice, need to become warmer and lighter and more yellow. 6. Final Touches + Recap!: then I just have to step back and make some final edge or color adjustments on the whole piece and we'll be done. I did the final touch ups right after painting to save time and publishing this video, but it's a really good idea to wait a few days or a week and then return with fresh eyes to the painting and assess it for final touch ups. You can also hold it up to a mirror or look at it upside down to get a new perspective. You just want to not be so used to what you're seeing you want assess your art objectively . So in summary wash, it is watercolor sibling because they're both pigment with the same sugary watercolor binders, gum, Arabic, honey or glycerin. Thus they have very similar handling, easy set up and easy cleanup and no fumes, but washes opaque pigments and traditional water color is transparent and translucent pigments. So there are differences and how these two mediums appear on the paper and how they layer and how they use white squash is gonna be more opaque, dense and creamy on the paper, and it's not gonna take well toe watery glazes over the first mid density application. It will also use white paint, toe lighting colors and a tense and for highlights, while transparent color can skip that white paint and just use water to dilute colors and the bear paper for white areas and highlights. Well, wizard, I hope you enjoy the Zorn study using Zords Limited Palette in Love League Wash. As much as I did please like and comment on this tutorial and check out my website dashboard with all my online platform links on one page, including the skill share and Patriot to support my art creation and instruction. And I have recently updated my red Global shop for art prints and finally made my Etsy shop active to sell original art there. So I hope you check that out, too. Thanks for park your brushes here and wishing you'll epic our adventures