Painting the Ear | Kristy Gordon | Skillshare

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

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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 (50m)
    • 1. Introduction

      0:55
    • 2. Materials

      6:54
    • 3. Construction of the Ear

      6:08
    • 4. Special Brush Techniques

      7:13
    • 5. Ear Demo Color Lay In

      14:55
    • 6. Ear Demo Refinements

      13:28
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About This Class

This class will guide students through the creation of a well-structured painting of the ear with convincing colors. We will begin by discussing the construction of the ear, to get accurate structure. Then we will move to color and concentrate how to mix flesh tones. Participants can use any medium they like in this course. Kristy will be doing the demo in oils.  By the end of the course students will have a painting that they’re proud of as well as a solid understanding of how to paint the ear, which can be applied to all their future paintings! 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.

Meet Your Teacher

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Kristy Gordon

New York Based Artist And Teacher

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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Transcripts

1. Introduction: The ears, one of the most complex features of the face. And in this class we're going to take a look at how to paint the human ear. We'll start by taking a close look at the materials that I'll be using. You can use any materials you like to follow along with me, but I'll be using oils and I use a non-toxic process of painting with oils. So I'll show you the colors that I've got on my palette. We'll also take a look at some of the special brush techniques that I'm using. And then we'll take a close look at the construction of the ear to better understand the different parts of the anatomy to the ER before moving into the blocking and the color lay in and defining the big form modeling of the ear. And then we'll start to really look at edge quality as we move to the refinements and how to treat different textures like hair and the jewelry. By the end of the class, you'll have a painting that you're proud of and a better understanding of how to capture the ear in all of your future work. 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. 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, 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 naps all red, which is yeah, It 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 kinda 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 kind of 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 pigment so 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, 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. So 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, you know, 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 of 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 Bluemix are 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, is really smooth. It's also got a little bit of tooth so it's not too slick. And today I'll be working on an eight by 10 panel. 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. So some of them are bright, so I 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 there are 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, as you'll see in the videos. They just tell them, you know, there's a there's a couple of different sizes are smaller, 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 Princeton 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. 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 eyelashes. 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 in terms of the mediums I'll be using. I'll be using this M Graham walnut alkyd medium. It's a similar consistency to linseed oil. So you could just use linseed oil if you want. This is just what I use in my practice. It's really wonderful. It's non-toxic. It does help it dry a little faster, which is especially important if I'm working on painting over a period of time. And it's just a really great medium. And then I also just love this Gamblin solvent free gel. It's a bit more gel-like and consistency. It's really good for glazing. It also is non-toxic and helps make the paint dry a little faster as well. So get your materials together and let's get started. 3. Construction of the Ear: So let's take a look at the construction of the ear. So I'd like to start by having you follow along with these steps and just create one ear, a little ear drawing, following the steps. So in step one, we kind of establish the overall shape of the ear, really noticing that it's wider at the top and narrower at the bottom. And then in step 2 are starting to develop. The little rim around the outer top portion of the ear is called the helix. Keeping it nice and narrow, keeping the width, in other words, narrow. And then in step three, we put the little naught, this little triangular flag, which is basically where the ear anchors onto the face, is putting that on. And then next we'll start to extend that and extend this down. Step six, we start to put in the concha, those sort of hollowed-out central area of the ear. And then in step six, we put in this little divot, the top. So basically this here is like a curving y. And I really find that that helps make some sense out of some of the anatomy of the ear to kind of simplify the understanding of it into the idea that this is like a curving. Why also in terms of the proportions of the ear, we've got 1 third at the top. Then this hollowed-out central area is another 1 third vertically. And then we've got the bottom part, the lobe as another 1 third. So in terms of the anatomy, we've got the helix, which is that rim around the outer portion of the ear. And then you've got the concha, which is that hollowed-out central area. We've got the anterior and knowledge, which is that little flap of skin that connects basically on to the jaw, just anchoring the ear onto the face. And then we've got the lobe and the inter tragic not to just sort of this curving shape that connects that flap to the central hollowed part. And then we also have the antihelix, which is that curving Y shape. So we've been looking at the profile view of the ear. And if we take a look at a slight rotation of the head into the three-quarter head. This would be like our three quarter rotation view of the ear. And so we've got the helix which kind of overlaps itself, kind of showing that this is more in front of this part. And then keeping the width nice and narrow or especially narrower towards the back portion and a little wider at the front as it comes towards us to show the foreshortening. Again, we've got that. And here you're not sure which is the flap that really anchors the ear on to the face. And then the lobe of the ear, remembering that the top of the ear is wider than the lobe. And we've got the thirds in terms of the proportions. And that curving Y shape that wraps itself around the content of the Holocaust central part and the whole of the ear is smaller, is in his inside. And then from this more front on view where you can only see like a sliver of the ear. Again, you can describe the helix with the sense that the front is wider and it gets narrower as it goes back into space. Just a little sliver of that curving Y shape, get that anterior notch anchored on to the jaw, and the lobe being narrower than the top. And it looks really nice to carve out the ER with sort of angles. So it really helps like avoid like a big Muppet ear, you know, giving it a little bit more articulation and specificity. As we get towards the back view of the ear, you can see that there's actually this flap of skin that anchors the ear onto the head. And it's actually wider at the top and narrower at the bottom. So the ear sticks out a bit more from the top, then the bottom of the ear, from the back view of the head. And then you can carve out the helix again, keeping it narrower in the back and having it widen had it comes towards us, towards a back view of the ear. And then we've just got like a little sliver of an indication of that curve and why she very subtle little sliver of the indication of the concha and the even the back. It's like we're looking at this side of the, of the ear. So we're seeing the side plane, the thickness of the ear, and then just a little bit of the front plane of the lobe. And at the tonal back view, the helix starts to kinda curve into this S-shape. And we're just seeing and it's a little thicker at the top, little thinner at the bottom. And then we've got that flap of skin that anchors that year on to the head. In terms of the proportions of the ear. We've got basically, this is our base 1 third measurement. So from the bottom of the chin to the bottom of the nose, bottom of the nose and eyebrow, eyebrow to hairline though they're all three equals thirds on the face. And the ear is equal to r 1 third measurements. So the head is just in a neutral position facing forward, no, tilt down until it up. The bottom of the ears aligned at the bottom of the nose and the top of the ear is aligned with the eyebrow. And also the ear sits at an angle and the fetus that's the same as the angle of the jaw. So I hope that helps you with the construction of the ER. I think that understanding the proportions and the anatomy of the ear will really help you as you create your own ear portrayals. 4. Special Brush Techniques: Before we dive in, let's take a look at some of the brush strokes I'll be using to create really smooth blended transitions in my painting. So the first brush stroke is called the airplane stroke. So say I've got like a face edge here. This is a little just pretend this is the neck and the jaw for example. And let's put a little bit of a shadow note under the jaw. Now, as I blend out this shadow note, what I'll do is I'll start with my brush is fully loaded with the shadow color right now. And I'll start with my brush in the place where the color is really there. And I'll kind of lift and pull my brush off the canvas. So it's kinda like an airplane taking off. So we've kinda look at it to the side. The stroke has kinda lake. And so I'm like lifting and pulling or they go so it's like an airplane taking off. So it's like I'm lifting and pulling as a go and it creates a kind of blended and right at the end of the stroke, funny enough, the, how an airplane going by above us. I gave you then the recording. But so it especially works when you're working wet into wet and you've got one color on your brush in one color already down. And you can see that as I lived in pull, it basically blends rate at the edge of the place that I'm pulling. So that's called the aeroplane stroke. And then the other brush stroke is what I call the wiggle stroke. So I'll just kind of restate the shadow here. I'm just going to actually warm it up a little bit too with a little more burnt sienna. And so I put it down and see how it's got. Let's even sharpen it up a little bit more. So say you put it down and it's quite sharp wherever the color, where the two colors meet at this point, we've got wet paint here and what paint there? And now what I'm gonna do is I'm going to take my brush and my rag. This is a blue shop towel, but you could use even a cut-off t-shirt or some paper towels. And I'll take all the paint off my brush so it's pretty much clean and kind of dried too. And I'll just do this little side-to-side wiggle as I kind of move my brush along the edge. But I'm trying to soften and it'll sort of the brush will pick up paint as it moves down. So you might just wipe the brush off again and you know, in kind of do it one more time. This is a stroke that takes a little bit of getting used to sort of figured out how to, you know, kinda maneuver the paint. There might take a couple wiggles along the line, you know, to just create a nice soft blended transition where it's got a soft edge. And basically the smaller the wiggle, the sort of more precise the shape of the edge. It will still be liger. I still reads the end as sort of right about here. But the truth is that there's no We're designation of where that edge happens. So again, if we look at it on the lower edge, now let's look at how wide or wiggle. So a broader, expansive soft edge. You can see that it, you know, the wider the kind of wiggle that you do, the more gradually blended that edge will be. So I use the wiggle stroke a lot, especially as I'm turning. Let's just wipe this off year. So say I wanted to like turn the edge of the form, having it darken as it moves to the edge. And I introduce a darker note right along the edge of the form. Then I'll often just do just a nice subtle little wiggle where the two colors meet. So that's a really useful brushstroke to know and to work with. So that's what I call the wiggle stroke. And then the last sort of fresh principle. Let's just sharpen up these edges one more time is paint the idea of painting across the form. So you can see as I'm kind of putting the stroke in initially if we, if we're imagining that this is the jaw line. This way that I'm putting the painting like this is what I would call painting with the form. And it's often the easiest to do. Like say this is the line of the neck. Again, painting with the form following the shape of the edge is really like the easiest way to put the paint on. It's the way we kind of automatically put it on, but it actually enhances the sense of form if you paint across the form. So if instead, as you put that paint down, you're kind of tediously painting across the form. And so a lot of the time the wiggle stroke will actually come in handy for that. You might sort of initially put it down with the form, but then kind of break it up with a little wiggle or just painting. Basically, you want to have the brush stroke go perpendicular to the shape of the edge. And I can change direction a little bit at those, it wouldn't look quite right if every single stroke is exactly perpendicular to the edge. But overall, the general principle of painting across the form is damped the stroke go perpendicular to the edge. So let's look at the application of the airplane stroke in the case of hair. So what I'm doing here, I use this greener brush. This has, as you can see, some long hairs and some short hairs. It's called greener because it's like good for wood grain. And basically I'll just mix up a kind of brownish color, a fair amount of medium on my brush. This is also going to be useful for eyelashes. I take the excess off my brush so there's, it's not dripping with paint. And if we do an airplane stroke is going to really enhance the hair-like texture. So again, the airplane stroke is where I start with the paintbrush firmly on the canvas. And then as I go I lift and pull and it kind of creates this tapered edge. And with the greener brush, it creates a really lively kind of edge. So as I'm doing, for example, eye lashes, let's just draw in the shape of say, an eye here, this is our upper eyelid. To sort of roughly. You can kind of take your grain or brush and start with the place where they start on the line. That's where the color is firmly there. And kind of lift and curl and pull as you kind of go along the edge. And so that's kind of using the airplane stroke to create eyelashes. So those are some basic principles of different brush techniques that we'll be using as we work. And I hope you find that helpful and until you applying them to your work. 5. Ear Demo Color Lay In: Let's take a look at how I would start the color Lee and for the ear painting. So I'm gonna start with some medium, that's some walnut alkyd medium with some games. So I'll just use a little bit of alizarin permanent. And I'll start by just sort of sketching in the basic shape of the ear using angled straight lines to kind of describe the curve of the ear. So that gives a little more solidity and structure to the ER. More so than just like a big generic curve. And I'm using like a lot of medium. So it's really easy to wipe things out. You know, if I make any mistakes. And so it's not like a really concrete, you know, big commitment though, you know, to the linear aspect of this stage. It's very organic. We can move things around, gonna get like a little bit of the hair and the head. In. Notice that the ear sits on the face at a bit of an angle, the same angle actually as the angle of the jaw. And from there I'm going to move somewhat rapidly in to refining things are into laying in the color lay in. And so I'm going to start with the shadows. I'll use some base shadow mixture, some medium. I'm going to make some this gambling solvent free gel in. We're told just sort of stop it from being too liquidity. So it doesn't start like running down the face of the, of the panel. And I'm just going to sort of map in the shape of the shadows. This is very transparent, so we always do the shadows really transparent and the lights will have a lot of opacity to them. I'm going to use this greener brush and just mark in some of the shadow behind the ear, which is the hair and the head. So at this point I'm using alizarin permanent mixed with some base shadow color. And it's very transparent and I'm keeping it a little bit loose. I really loved to have like a tightly rendered sort of feet here and then have it kind of smoosh out to like a really painterly kind of sort of treatment at the edge. So it's just kind of a stylistic thing. But that's, that's really what I, what I like to do on these paintings, but it's up to you how tight you want to make the whole thing. You know, in terms of treatment. So now that I've got this basic linear construction in, and you can see that it's pretty soft edge. I'm going to start to map in the color lay in. So I'm going to use the base light side flesh color. And I'm gonna start with the part of the ear that's a little bit more rosy. So I'll mix a bit of cadmium red in. And I see the most kind of red part of the ear being along this back portion of the ear. And a little bit inside this area as well. And then I'll mix up in lighter cooler note with white and the base flesh color and a teeny bit of gray. That might be too much. Let's mix a bit more base flesh color and a bit more white. Even just titanium white will cool the color. But I've added a little gray so that I can push that just a little bit further. And I'm just going to bring that in. And so with the lights, I'm not using any medium as a nap in the lights. So the shadows, you know, they have a lot of medium mixed in there, really transparent. And the lights are painted opaque Lee there. Just paint and no medium mixed in. And it creates a lot of depth so that the lights kinda physically jump forward and the shadows kind of set back into the transparency. The shadows are actually not dark enough. So I'm going to go into them a little darker later, but I'm just getting this basic color lay in mapped in before I start to refine things a little bit more. So I'm basically just looking to get some light side flesh color in for all of the fleshy areas. And also one thing about the lights is that I'm making sure that I don't make it to white. So it leaves room for me to lighten into later. But instead I'm sort of starting with a mid-tone note. And let's just get a little bit of the color of the face in the jaw area map Dan. I did mix a little bit of medium into that just so that it flows fluidly. And I'll get a little bit of a hair color mixed into your next, you're going to mix a teeny bit of Prussian blue. Some of the highlights are picking up some bluish notes. And also at the very back of the hair. The edge of the hair looks almost a little cool. Okay, and so now I'm going to start to go a little darker into the shadows and just kinda punch up the contrast of that initial, the initial linear aspects that I blocked in. But this time going a little darker, just a little bit more clarity. And so with features that sort of stick out so like and even the hands too. So the ears and the nose and the fingertips. Those all have more blood flow to them, so they tend to be a little bit redder. So as we do the details on the inner, inner shadows within the ER, I think it's going to be nice if we just push the redness just a little bit. So I'm going, you know, I'm kinda edging towards a slightly more Alizarin permanent note. I've got some Alizarin permanent mixed into a teeny bit of the base shadow color mixture. And I'm just sort of running through that shadow shape. Let's also use some base shadow color mixture to work along the outer edge of the ear. So I'm kind of starting with a line and then pulling outwards from that line. And that's called an airplane strokes. So there's different strokes that we'll use as we're working today. So the first one is yeah, the airplane strokes you start with your brush, fully loaded with the color that you want to use. And then you basically put your brush down at the place where that color is fully there. So for example, the line of the ear. And then you'll kind of lift and pull as you go. So kind of lift and pull like that. And you can see it kinda makes a blended edge on this side pulled from a more concrete edge on the side that you start with. So you sort of start with the brush firmly on the canvas and then lift and pull like an airplane taking off as you go. So that's going to create a sort of blending as you go type of effect to your painting. Just a really nice kind of brush stroke to use magically in these shadows. And really looking at the shapes. So we've got that curve and y that I talk about in the handout. And then there's this sort of shadow patterns, shapes that's kinda like a twisty triangle or maybe even a bit more of a diamond shape right here. So just kind of simplifying, you know, in your mind, sort of simplifying into sort of shapes, geometric shapes. And then we've got also this little kind of sideways triangle right here. And there's a kind of v-shape where that meets the flap. There's a little flap that sticks out from the face, right in front of the ear, right here. And then on the outer part of it, It's sort of gets lighter as it moves outwards. We also have a little bit of a shadow on the under plane of this form. So I'm just mapping that in. And a lot of the time. It's nice if you paint across the form. So that means, in other words, perpendicular to the shape of the edge of the forum. So as I put this in, I'm sort of wiggling. I'm kind of moving my brush so that I'm placing it across the form. On this one, I did put it with the form. In other words, moving sort of with the shape that, that the edge makes. But now what I can do is I can kind of tap dab along the edge so that it creates a subtle kind of across the form type of an effect. Okay, and so now I'm going to use more base shadow color and a little Prussian blue. And let's just go darker into the hair. And shadow color and a little base flesh color. And we'll go darker into the kind of head that's behind the ear and just carve out, you know, the darkest note that really kind of highlights the shape of the ear. I'll mix a little of burnt sienna in. So we've got base shadow color, base flesh color, and a little burnt sienna. And just pull that in. Maybe a little more base shadow color and a little base flesh color. So this is the cast shadow underneath the ear and sort of running down the back of the neck. And the hair. Sort of blends into that note in a really subtle way where it's difficult to tell where exactly the hair ends and where the skin starts, like you can tell, but it's very subtle. I'm actually just going to take my rag and kind of soften this. I like, I think it's nice if it just blends out a little bit there. And then I'm just going to adjust the proportions of the ear slightly. So moving, moving some of the shadows around this could move up a little. I want to get a little darker into this part. Right here. And the red are note that we see along the edge of the ear is, it's basically suggesting the form of the ear. So the turning of the form sort of darkening as it rolls backwards. And maybe I'll just suggest a slight indication of the under plane of the gradient here. And the light side of the flesh around it with the base flesh color and a little bit of the base shadow color mixture. So it's kind of a slightly darker note than, than this part of the face. And I'm just sort of wiggling. So this is the other stroke that we can use. It's called the wiggle stroke. Where you see how I'm kind of wiggling my brush side to side along the line that I want to create a blended transition with. So it just sort of yes, softens the adds and creates a softer edge. And I'm going to, I, I kinda like it to bleed out a bit of this weight that there. And I'm going to do the wiggle stroke again. I'm mixing a little bit of Prussian blue into my base flesh color and base shadow color mixture. A lot of the time you'll find that along the edge of the transition where the light meets the shadow, you get a slightly cool note. So I'm gonna do the wiggle stroke with a teeny bit of this Prussian blue on my brush so that it just kind of creates a softer edge. And also the introduction of a slightly cool note right at the edge. And a lot of the time we get a little cool ads on the edge of hair too. And we do also get some of that cool, cool note coming through at the edge of the hair in the shadow and the little wisps of hair that we're seeing at the back too. Yeah. So that basically shows how I would start using warm colors for the shadows, some base shadow color mixture and some Alizarin permanent kind of carve out the shape of the ear. And then using the base flesh color and some white and a little gray to block in the light side of the ER. 6. Ear Demo Refinements: So moving to refinements, I'm going to start to kind of turn the form of this edge a little bit more. I'm starting by just darkening behind the ear. So I'm kinda like really, you know, going in for the full contrast. Now, I start with slightly more mid tone in the rain ranges and now I'm going in for the actual darkest darks. And yeah, just kind of pulling pulling that up, starting by kind of going along the edge of the ER, creating the line a bit more precisely. And then kind of softening upwards so that it kind of becomes the top edge becomes part of the hair. And yeah, just continuing to kind of do that. This is just like the base shadow color mixture and a little bit of black. And I'm going in for the full contrast in the shadows of the ear as well. I'm using a nice rich warm color, really dark rich warm color. Just some Alizarin permanent and a bit of black and a teeny bit of base shadow color mixture. And just going in, really creating the line like the exact shape of the edge. That, you know, it's sort of, it's curved but it has some specific angles to it. We really want to make sure that as we do a curved edge, we give it like that specificity and kind of capture the little mini, kind of curving angles that make up that form. And that gives it more structure and more visual interests to. So it doesn't just look like a blobby Ernie ear, something that has like some structure. So and I'm really going in to the shadow patterns that I've created. And just getting getting them a little bit darker, making sure that the shape is really accurate. And yeah, and it's like warmer in the shadow at the top there and then slightly cooler, you know, a little bit more purpley in the lower part. And bringing that darkest note around behind the little sort of triangular flap that it's so, so important that sort of sits at Lake along the jaw and kind of forms the front edge of the ear. And yeah, so I'm kind of any node behind it is the actual whole of the ear into the head. So I'm going in with the dark is note to kind of articulate that shape a little bit more clearly. Next I'm going to start to kind of carve out the sort of Y shape at the top part of the antihelix, which again is that sort of curving y form. And yeah, just kinda get a little bit more clarity to that shape. I feel like this is one of the shapes that can kind of look like kind of feet make the ear feels kinda complicated when we try and take it in. But sort of understanding this shape as a kind of curving. Why sort of form helps simplify matters quite a bit. And at the same time I'm also kind of carving out the shape of the helix, that sort of REM, that goes around the perimeter of the ear. And with, you know, with all of it, really making sure that like within those curves, There's various angles, various curving angles that, yeah, Again, like really make up the structure of the ear. And noticing that some parts of the helix are thicker and some are thinner, you know, it's not just a totally even rim around the whole ear. Yeah. And kind of softening the transition between the darker note into that lightest note at the center, center part of the antihelix. Just sort of continuing to refine the, the grad, gradual sort of transition between the lighter tones and the darker tones. Going in with a little bit of a warmer note into some of the darks. And also around the edge of the helix. Really kind of looking at the turning of the form. So I'm just bringing a very soft note that's a little darker and a little warmer, just right around the edge of that helix so that it kind of, you know, gradually progresses to a darker, darker, darker note, progressively getting darker until it meets the edge. That it just gets a really nice sense of form. It gives it like a softness and a fullness. And, and also working the edge quality. So it's not just a sharp cut out and it's just a slight sort of bleeding of each of the wet colors that are side-by-side. They're so kind of letting the color of the ear bleed in with the color of the hair or the skin at the jaw just a little bit to create just a very slightly blurry edge. So a lot of the finishing touches really have to do with edge qualities. Sort of refining the type of edge looking for, creating slightly softer edges. Some like very soft and some leg a little bit just slightly soft. And bringing a slightly cooler note into this cache shadow behind the ear. A lot of the time cast shadows have a certain coolness to them. So cast shadows being the shadows that like the form is, form is casting a shadow onto another form. They'll often have a little bit of a coolness. And yeah, just kinda working the shape of the jaw. Kind of softening edges again, just sort of looking for places where brushstrokes are catching the eye too much. I really liked the leg painterly edge quality at the very edge and in places, but then sometimes it can obscure the sense of foreign if there's like a big brush stroke that kinda gets in the way. So yeah, softening, softening edges in some places, kind of looking to describe the place where the ear meets the face and just the way the tones sort of work in there. Also softening the edge quality of the hair. It sort of moves into slightly lighter or slightly sort of softer edged note, carving out the shape of that anterior notch a bit more clearly. It has a light side on the far right of it and it rounds to a slightly darker note saying that the helix, so really looking to describe the form, giving, bringing in that lightest note into that curving Y shape as well. All right, in the center of it. So I'm really getting into like the big for modeling and the turning of the form and continuing to work. Edges. Kind of brushing lightly across any edges that feel too sharp to just create like a slightly softer, softer edge, which will help give it a better sense of form and also just look more finished. And yeah, I just sort of continuing to sort of work the edges looking at how the edge roles in the lighter note to the darker note, like does it pass through a halftone that has a certain width to it? So really kind of analyzing all of that, trying to go in for a lighter note in the highlighted areas within the ear, some of these are a little lighter than, than they'll stay, but I'm trying to just kind of get the full range of tonal contrast now. So now we've got like our darkest darks and lightest lights in. And you can see that we're starting to get quite a bit of form and dimension. And again, just sort of once I've put that in kind of looking at the edges and sort of brushing through them, trying to create that hollowed out sort of sense in the show where, you know, there's sort of hollowed-out scoop shape within the year. And so as I keep defining the forms, I'm really looking and really thinking about trying to describe the different planes and thinking about the direction that they're facing the light. So our light is coming from the right-hand side. And so we've got like a plane to the right of all of the forms. That's a little bit lighter, you know, if, uh, if it's turning towards the right-hand side, and then as it turns towards the left or as it turns downward, it's getting a little bit darker. And so I'm really like keeping that in mind as I carve out, you know, any of the shapes thinking about the direction that the planes facing. And then once I put that in, I sort of soften the edge just by doing a little wiggle along the edge. So just continuing to kind of work, work around and just like refined the tones and the edges. And bringing a little bit more light into the right hand side of the helix and then softening the edge. Just pushing that form just a little bit more, making sure that there's that sense of it. Definitely darkening as it rounds towards the left-hand side. And just kind of brushing across, you know, different. Any brushstrokes that are standing out too much or any edges that feel at all like cut-out and sharp, it can still feel pretty precise. You know, even if it has a slightly soft, slightly wet into wet edge. So I'm kind of running along these edges at the top and in the middle here that just felt a little too cut out. And just running my brush along the place where two You know, different colors of wet paint meet just helps sort of instigate a little bit of a blend in between the two and just gets that very subtly soft wet into wet edge. We're still feels quite precise. It's like a very small sort of softness. Just kind of dabbing along this, highlighted the top that felt a bit too bright and it was just reading leg too much of a brush stroke. I didn't really feel like it was like describing a form, you know. Yeah. And working along the edge of the jaw a little bit more. You know, the jaw, the relationship between the GI and the ear is so important, kind of working through the shadows at the back of the head a little bit, making sure that the neck as well like darkens and the form is turning using my greener brush to get in to the hair texture. Just a little bit more of the little wispy is at the back and sort of doing some airplane strokes to get the little ISPs that kind of tuck behind the ear. And now I'm going to go in and get the E-ring. So I'm starting with just the black color, which is sort of the color of the jewel of the earring. And getting a little bit of a light side to that. It's like a little lighter on the top. Going in for a little teeny cast shadow that's behind the E-ring. So the earrings casting just a little teeny cast shadow onto the ear. And now I'm going in with pure legged gray color. So it's not pure white, but and I'm just kind of dabbing the smallest little dot to indicate lake, the jewel like the metal, you know, around the, on the jewelry. And then finally using pure white and just getting the tedious little lightest highlights. And yeah, just refining the edge like at the top. Just looking around at all of the edges, thinking about like, I really am trying looking for places to have soft edges at this point. I don't want the whole painting to be like soft and blurry or anything like that. We need some sharp edges. But there's a lot of edges. It's like most of the time we'll do something will soften it and then we'll actually need to soften it again. Really going into the form of the anterior notch, that little flap right in front of the ear that connects to the face. And just really getting it. The sense of a darkening as it rolls to the left and continuing to just kind of go into all of the little forms of the year, making sure that as they lake, turn away from the lights, they get a little bit darker. Kind of going in for the actual transition. Like the shapes. The way that the edges roll into the shadows. Had the distance that the half tone like lasts, like whether it turns from light to shadow really suddenly or whether it turns very gradually, adding in some more highlights into the center of the form. So I'm just pushing that sense of form even a little bit more. And that shows you how I would move through color layer and into refinements. Really focusing on the edge quality and the turning of the form as a move into the finishing touches.