Painting the Portrait With A Full Palette | Kristy Gordon | Skillshare

Painting the Portrait With A Full Palette

Kristy Gordon, New York Based Artist And Teacher

Painting the Portrait With A Full Palette

Kristy Gordon, New York Based Artist And Teacher

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8 Lessons (1h 58m)
    • 1. Portrait Painting: Introduction

    • 2. Portrait Painting: Comparative Measuring

    • 3. Portrait Painting: Underpainting

    • 4. Portrait Painting: How to Mix Any Color

    • 5. Portrait Painting: Color Lay In

    • 6. Portrait Painting: Big Form Modeling

    • 7. Portrait Painting: Describing the Features

    • 8. Portrait Painting: Finishing Touches

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About This Class

Learn to create well-structured portrait paintings with convincing colors.

We will begin by discussing comparative measuring, to get accurate proportions in the underpainting. Then we will move to color and concentrate on big form modeling, then defining the planes of the face and features, and finally glazing to fine-tune the details.

Please download the attached files, which include handouts that describe the drawing of the features, a supplies list, a full palette handout, as well as my source photo, which you can work from if you would like.

Upon completion of this class you will have a portrait painting which you are proud of.

We will utilize warm and cool lighting to achieve dynamic colors, giving a contemporary feeling to portraits painted with traditional techniques. You will learn how to achieve a better likeness as well as how to paint convincing African American flesh tones.

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.

Check out my other classes:

Portrait Painting from a Photo: Underpainting (part 1)

Portrait Painting from a Photo: Color (part 2)

Portrait Painting with a Full Palette

Glazing and other Paint Application Techniques

Composition in Art

How to Paint a Baby in Oils

Painting the Portrait in Profile

How to Paint the Flesh Tones

Contemporary Portrait Painting

Painting the Eye

Drawing Facial Expressions: Determined Eyes

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. Portrait Painting: Introduction: I'm Christi Gordon, and I'm a New York based artist and teacher. I've taught classes at the New York Academy of Art and the National Academy in New York. In my classes, people often ask me what the differences are in my palette when I paint different skin tones and in this class will be focusing in on how to create luminous and lifelike skin tones on her African American model. You can follow along with me as I show you each stage. I'll show you how to use comparative measuring to get accurate proportions and a good likeness in your under painting. Then we'll set up our full palette and move into color. Lay in. There is a special feature where I describe how to analyze and mix any color that you'll ever want to mix. Then I go into specific construction of the features and to add the finishing touches will look at refining the edge quality and adding highlights. By the end of the class, you'll have a well constructed painting that you're proud of. This classes for all levels of artists. The beginner will learn fundamental principles, such as how to mix, color and render for modeling, and the more advanced student will learn how to take their work to the next level and achieve the finish that they desire. By the end of the class, you'll have completed a well structured portrait painting that you're proud of. 2. Portrait Painting: Comparative Measuring: to get accurate proportions and a good structure to our paintings. We're gonna be using comparative measuring. So start by taking a long, thin handle. Paintbrush and align the top of the brush with the top of the head, the very top of the hair and the skull and slide your thumb nail up to the bottom of the chin and then turn the whole thing horizontal. And basically you're going to be comparing the height of the head to the width of the head . So in this case you can see that the width of the head is about 3/4 the height of the head . And then the next thing we'll do is we'll take the bottom of the brash and align it with the tear duct of the eyes and again slide your thumb, nail up to the bottom of the gym and then move the whole thing up. And now align your thumbnail with the tear duct of the eye and you'll see that the top of the brush is basically at the top of the hair. So that means that the eyes air raid in the center of the head. So we're gonna be recreating these competitors proportions on our paintings, and I'm gonna show you how to do that. In the demo on the next one, we're gonna be using his three equal third. So basically, from the bottom of the nose to the bottom of the chin, bottom of the nose to the eyebrow and I brought a hairline is three equal proportions. And so I'm gonna be referring to this as our 1/3 measurement says three equal thirds again from the bottom of the nose, the bottom of the ocean, bottom of the nose to the eyebrow, and I brought to the hairline. What's really important is that you remember to also include amount for the height of the hair. On top of that, in this case, it's about 3/4. That 1/3 measurement for that distance of the hair above are three equal thirds. This one is my favorite measurement, and it's going to really help you aim for the features in to the face really accurately. So this will be our base measurements. So next take that Biggs measurement back onto your brush from the bottom of the nose, the bottom of the chan again, and now turn it horizontal. It's really important to always compare verticals to horizontal. If you get all of the verticals, correct, but the horizontal dimensions air off. The whole thing will look off, so we have to be comparing the heights to the whips so you'll get that bottom 1/3 measurement on your brush. Now turn it horizontal in a line the bottom of the brush with the edge of the face and just see where thumbnail comes to in relation to the eye and in this case, the iris. Here, the dark, the covered part of the I basically starts exactly 1/3 in from the edge, so that's gonna help you position the eye on the painting. You can also use that bottom 1/3 measurement account, the width of the face, which is basically just under two. It's about to actually of our base 1/3 measurement, and so those are gonna be really useful. You can also use your base 1/3 measurement to count. You know into different dimensions in the body. Another really useful one is to take the height of the head on your brush. Turn it horizontal, and often you'll find that it's one head in length from one shoulder to the opposite side of the neck, so that could be a useful one to help you get the width of the shoulders accurate. Um, also, once you've got the verticals established on your painting of the of the face you can when there's a random measurement that you want to find, like, say, you wanted to find where the top of the shirt is, what you would do is you would take the measurement in question on your brush and then compare it to what you do know, which will eventually be the verticals of the face. And so, in this case, this particular dimension ends up being equal to the from the chin to the eyebrows. So I'll show you all of that when we get to the demo stage. But I wanted to introduce you to these comparative measuring techniques so that you'll understand them as it moved to the under painting. The other type of measurement that we can do is called plum line, so to take a horizontal plumb line, hold both sides of the brush and just hold your brush perfectly horizontal, close one eye and look down one edge of the brush. In this case, let's look at the top edge of the brush, and basically I'm aligning it right now with the bottom of the ear lobe, and you can look across the top edge of the brush to see how it compares to the bond. You know it's the other features. In this case, the bottom of the ear lobe is like just above the bottom of the nose, and then the ear. The top of the ear is basically of lined with the eyebrow line, so you can take horizontal plumb lines. And all throughout the painting, you can see if one shoulder is higher than the other, which in this case it is. Then basically, just see the horizontal relationship between different features. There's also vertical plumb lines. So to do this, just hold your brush loosely and let it dangle so that it's perfectly vertical again. Close one. I am. Look down just one side of the brush and you can see how vertical alignments air working, so one really useful one is to look at the vertical relationship between the pupil of the eye and the corner of the mouth there's those they're going to be pretty vertically aligned . You can also look at the vertical alignment between the tear duct and the nose. In this case, her head is tilted a little bit, so the nose is just a little bit over to the right from the tear duct. And you can also take larger, you know, looking at the relationship from the body up to the you know the face. In this case, the armpit here vertically aligns pretty closely with the edge of the hair. So that's the vertical plumb lines. And then the last type of measurement that will be doing is called angle measurements. And so to do that you'll need to brush is, and it basically find a angle on the model, a fairly prominent angle that you wouldn't take a measurement of. In this case, let's take a measurement of the angle of the side of her jaw cheekbone jaw area, and you'll just tilt the paintbrush until it's running right along the angle in question. And then you would take your other paintbrush once you know where the faces and where that um, cheekbones gonna be on your painting and again, I'll show you that during the demo you would take the other paintbrush, put it on the canvas where that edge will be. Make it parallel to this one. We're just holding the angle in question, and then you'll just take this brush and just trace that line onto your canvas. So we're gonna be working through and just like measuring the angles adds, we go and I'm gonna show you all of that in the demo for the under Pingtan next. 3. Portrait Painting: Underpainting: we're going to start with under painting, so we'll be using a medium sized brush and just burnt umber oil paint. And I use a little extra oil at this, like gestural um, phase. I'm working on a canvas, by the way, that I'm sort of painting on top of something else. It's still like a mid tone. It's got some kind of interesting textures, and it's pretty similar in color to what you're working on and think about the placement of the figure on the canvas. So I'm not having her right in the centre. I'm having her a little closer to the back. There's a little more space in front of the direction that the face you know, the head is turning. Think also boat like the amount of lakehead compared to the amount of non head like don't have it half and half don't have this important edge of the front of the face end up right in the middle of your canvas somehow, either. So you're thinking about the division of the canvas, Um, at this stage and you're not worrying about proportions yet, so we're not going to start marking in little dots and lines of the 1/3 measurements yet we're just doing almost like a Ghostie silhouette. That's probably not in proportion, just the placement of the figure on the canvas. And I'm liking this. This is a placement that I actually do pretty often less behind a different amount of distance from the top. You know, just all vary. This is medium. That's a small This is most. This is different than the head. And so that's nice. And we can start to kind of mark in the center line. We know the heads, like right in the center of the other guys are right in the center of the head, and, um, I'm gonna take the height of the head on my brush. We sort of recheck these measurements, turn it horizontally to see the width. It's about 3/4 the height, and then so people always wonder, like, How do I take that that we're seeing on the model and apply it to this like our painting? And that's why it's called comparative measurements. It's like you re create the same relationships on your canvas. So now I'm taking the height, comparing it to the width that looks like potentially about, right? Maybe it's a little wide. We're going to come out at a few different ways to So, um so something more precise with the 1/3 measurement soon. But I'm gonna make it a little narrower. If you need to erase, you could just take your rag if you want to, like, really erase like cleanly. You could even dip it in a little oil and just really erase that, you know? So it's not a, um I know we're starting right in there with oil paint, and some of you may have used charcoal or something to draw before, but this is, like noncommittal, um, easy to make adjustments. So now we're checking the center line. Is it right in the center of the head? And it is so that's going to be the eyes. I've got it at an angle, which is like the same angle. You know, that the I sits at, I'm gonna actually put a little bit of a suggestion of the vertical cross hair to just guide me as I set up the features. And then the next thing we want to do is start to do the dots and lines of the measurements we talked about and this you'll sort of try stuff and see if it works. So I'm just, like estimating maybe the hairs about that height down. I remember that I have to give some space for the hair so we'll see how that works out. And then from there from the hairline to the chin, we want to divide that into three equal thirds. Now, those air probably like, not equal thirds yet, you know, Said Next will kind of like, see if they're equal, which the not and then make adjustments to make them equal, you know? So it just takes a little bit of wiggling stuff around to get it. Let's see if that vehicle now pretty close. So now we've got three goal thirds. And with that, we start to actually house like a bunch of information. So we actually know the nose goes here. We know the eyes go here. We know the four theme op Arouse. Go here. So here's her eye line. Here's a rail line. This Let's check them hair measurement. The hair was like just let's check it again on the model. It's, um, I'm taking the base 1/3 measurement, bringing it up to the hair because of the downward tilt that I've got to the chin. It's a little more than it was before, so it's about 3/4 of our 1/3. Measurements are just about like this height. I've just shifted it up slightly. So next we want to see the width of the face will take are 1/3 measurement count across the width from the place where the ear meets the jaw across to the outer apex of the cheekbone , and my face is a bit too wide. So let's try this. I want to still too wide. There's gonna be some lake adjustments in angles here, and it was actually like, slight, Let's, like, double check it. When we get into the small proportions, you'll find that, like, little teeny little shifts, make a big difference or little teeny like inaccuracy. So actually, it's slightly over two of the 1/3 measurements. So 12 this is pretty close. I think that that's actually gonna work well, so they will still be the back of the skull. The ear kind of sets in, like in front of the back of the skull. And so now we want to start to, like, anchor in some of the angles. So this is where you need to brush is and you'll take the one brush. Actually, let's I like to get paint on both brushes cause it's a bit confusing at first, and you never know which brush is gonna end up being the one that you want to trace it. So I just like getting well covered. So let's get like the angle of the jaw in. So here's kind of the important point I'm taking this brush. It's like parallel to the picture plane. It's not in any weird angle, and then I'm closing when I tilting the brush. So it's like running right alongside her jaw, and then this brush stays here. I don't go like or anything like that, cause that could change the angle so it stays there, and then I take this brush and put it. I know where roughly the jawline is now, and I'll put it right on my canvas like it's right on there and then make it parallel to this one. Dis make it lake parallel and then I'll take this one, which likely has paint on it and just trace that in. It's a bit hard to do with my left hand so that we were really anchoring in the angles and you can work through the whole portrait just like really anchoring in, Angle says. You look at like curved lines. Look for what I'm gonna be calling the apex, which is like the turning most point on a curve and sort of streamline it, um, sort of, ah, give more clarity to the structure of the curve by anchoring it in as the various angled straight learns that make up the curve because the curve is always sort of comprised of angled straight lines. Does that make sense? Yeah, and again, I'll be There's a lot of information of the beginning of a class like this, so we'll be like it's gonna all make sense throughout the class, and I'll be coming around and giving everyone input. But, like basically, there's an apex of the jaw. There's the other apex at this jaw. Then there's like an angle change at the cheekbone. Yeah, the angle of the jaw on this side. It's slight, but but it's there, so I'll clean that up a little bit more later. I'm still just getting the basic stuff and also look for like in the chin, there could be a tendency to make it two square. So look at the overall shape of the face and the tapered nous, that kind of triangular nous to that shin area so that you can get the kind of dainty nous to that look. Let's take a vertical horizontal plumb line from the top of the ear through to the features to see where the top of the ear is aligning and actually have got it a little high. And then let's take ah, horizontal plumb line from the bottom of the ear. Yeah, and it aligns with the nose, so that helps us anchor in the ear. So basically, taking the comparative measuring to get accurate proportions and then taking these plumb lines to get accurate, accurate relationships about the placement is how we're going to really get, like everything sitting in the right place and to place the most. Take a measurement from the bottom of the chin to the bottom edge, like the bottom apex of the lower lip, and then move it up and compare it to the nose and you'll find that not on everyone. So I always check that. But in most cases, and in this case the edge of the bottom of the lower lip is halfway on this distance, from the bottom of the nose to the chin. So that gives us the placement of the lower lip, bottom edge and then above that gets the placement of the most so and then we'll start to get into the placement of the eyes. Let's take the base 1/3 measurement and count from the edge of the face on the whatever side. But for me, I'm the looking at the right side and basically using the base one minute, third measurement to see about getting the placement of this I. And it's basically the base. 1/3 measurement from this place where the jaw and the ear meat is takes us to just like the edge of the iris. And so then the tear duct, and that's for my angle. So you'll want to see what the case is, you know, for your angle. But that's one that you can use to help anchor in the placement of the eye and then to divide like the distance here up. Let's sort of get to a really small measurement moved to this thinner brush and I'll take the measurement of the width of the eye on I brash and then I'll count from the edge of the face to the I in between the eyes and the other eye. And so my eyes gonna need to be a bit bigger. And basically I got one. I obviously for the width of the I one I from this place to like yet from the ear meets jaw to corner of I just under one eye for the placement of the start of the next die. And then when I again for there to the edge of the face. So this is working. Well, if you're doing a completely front view, you would find that it was just one eye for each distance. Like when I won, I won. I am between when I for the distance of the eyes and one more I again for the other side of the face. And we're not gonna let go into Lake really getting perfect eyes or anything like that. Yet there's gonna be after lunch a discussion of the structure of the features, and so we'll look more at that in a bid. And please don't get, like, carried away with the eyes. We need to get, like, the big the big stuff first. For now, just like a little placement will be fine and angled straight lines to get the angles of the jaw. See others like an apex sort of. The July meant the eyebrow. See others like an apex on the eyebrow, where it kind of curves turns down. Actually, this one could be a little bit more like this. There's also a nice angle from this eyebrow into where the nose inserts into the face. Let's taken angle along that line of the front plane of the nose you can measure. I already know that the ball of the nose is the width of one of the eyes, so that helps us get that within. We have a tilt to the head, so the corners of the mouth. Actually, in this case they do pretty much aligned with the pupils, so that will help you get like the corners of the mouth in place, and you can do the upper lip as in shadow. And then, um, I think I'm not going to go into blocking in the shadows. Get I'll save that for the next demo. But we're gonna keep just working through, um, into the body a little bit because you want to make sure that you're getting accurate proportions in the body as well. So we'll take the base 1/3 measurement. Look at that distance from the chin to the nook of the neck. Get that anchored in. Let's take a horizontal plumb line from here and just see how that visually relates were actually from this side and see how that visually relates to the bottom of the chin. And the surprise is always that it's basically horizontally aligned, so that will help prevent us from getting too long of necks, which is like a common air, making the neck like really long and let's also measured, like from here to here. So for that one I'm gonna take like, I'm gonna basically do this on the model, take this measurement in question and compare it to the verticals of the face. So what's wrongly so cause? Now we know where everything like sits on the face, so it gives us a lot of information. So yeah, so it goes to just, like about here. And so this is about right, that line right there. So that basically shows you how I would like. Let's also take a measurement of the width of the neck. So again we'll just take the measurement in question compared to the verticals of the face it goes to out here on the face. And Yemen neck needs to be narrower. So I think it comes about here. Oh, yeah, it comes, like way in the back there because there is no neck showing behind jaw from my angle. It's just like a streamlined kind of line. I noticed that the neck is coming out at a certain angle. It doesn't just go vertical. It comes out of the collarbone at a little bit of an angle. And let's get the overall angle of Thea collarbone on the other side there, too. Yes, so that's basically like the linear sort of aspect and just getting the proportions and the angles, like in place all have you guys do that now and the next will block in the shadow patterning. I'm gonna start to block in the shadows. So basically, we've got a light source that's like coming this way. So we're going to go for the true shadows. And that's like the darkest shadows, um, that I'm seeing on the left. So I kind of like, Mark that in first. And then I'll just fill it in and a lot of the time getting the shadows and will start to make it look kind of pop everything into place. Like sometimes a face can look a little bit too wide when it doesn't have the shadows on it . Um, it just, like, looks weird visually, and so assume as we start to get the shadows like anchored in, it'll look better. And I'm kind of, uh, I put it in by going with what's called painting with the form first. And then I'm sort of wiggling it perpendicular to the line of the edge. And that looks better than when it's like painted with the form. So just kind of doing that. I'm crossing over lines like you saw how I lost the most. And there at first, Um, and also there's going to be a little adjustments like it's also going to help me see the shapes better. And so it's going to be easier to like home holding the drawing like, more accurately by looking at the shapes. And I'm using that there's a little bit of the oil mixed in. You want your shadows to be kind of like about this level of darkness, like not so light that you can't see it and not so dark that it's just like two dark. No, Paige So something calling this, but like, yep, dark enough, like so that it'll hold up a za shadow when you start to paint the lights first tomorrow? Yeah. And technically, this side plane of the cheek here, like the cheek jaw from my angle. I think when you're, um, painting her head is more operate and it becomes true shadow for you guys for me right now , this is actually mid tone light, so I'm not gonna I'm not gonna darken it in right now. We're going just to show you like what we're doing is basically going for, like, the true shadows. So this arrow represents a light source on this drawing. And first, today we're just getting a basic light side and shadow side like, blocked in and and then we're going to go into the form or later. So we're really just looking for, like, the true I'm gonna put this down on the floor the true shadows, not the mid tone lights. And then, as you want to start to like home the features more. You can move to more opaque paint that it might be parts where you might even lighten up. This statement that you've got to kind of give you room to darkened into something. But yeah, by using ah, more opaque paint like with less oil mixed in, you'll be able to make like a darker, stronger line on top of like what you've done to really bring a little more definition two areas and keep checking horizontal alignments. Keep checking all the measurements with the eager take hold. So a measurement of the height of the ear we'll check. It should be one of her 1/3 measurements tall. So always check that there's a tendency for years to either be like too big or too small or something. So make sure that it's the right size we can anchor in the shape of the mouth like we talked about. There's that little horizontal. Then it kind of goes up down into the center, peak up again, down again and then anchored in at the back, curving straight line going up the nose has, ah, form shadow on the bottom plane of the nose. So the whole bottom plane of the nose is actually part of the Shadow. Actually, just a second here. I'm gonna need to move this mouth down slightly. Let's just move that down slightly that a little bit more distance between the nose and the mouth. So just making that adjustment. And then, like the lines of the nostrils, kind of tack within the form, that very important form shadow on the lower plane of the nose again with the lower lip, we're not doing any kind of line at the corner at the edge of the lower lip. We're giving the lower lip its definition with that cast shadow underneath the lower lips, and then just look for, like, the character of the shape of the brow there is. It's kind of the it's the two angled straight lines, and there is a certain roundness to it to give it the kind of softness to the expression that that I was seeing gonna anchor in those angles that we talked about. So again, the apex favors in towards the nose on that upper eyelid, just like we talked about for seeing a little white of the eye. And then we get into the iris, which is fairly large and takes up half of the way to the I. It's really important to get the little lake darker. Tick to the back of the are that's describing the front plane of the Lower island that anchors the eye into the face. There's also a nice sort of form that's wrapping this way and kind of points up towards the eyebrow. So there's a certain roundness like through here and a subtle suggestion of the bony structure that's like the part of the skull The nose inserts into the face just above the tear ducts of the tear duct is like here the nose like inserts into the skull, like just above the tear duct. So that's where the angle change occurs, and then it sort of creates from there where it where it inserts a nice, strong angle. That's a bit triangular and is actually partially shadow. And then at the top, it starts to become the eyebrow on the other side. Look at the shape of the, um, the head through here. It's sort of comes a little tighter towards the temple. And then there's like an overlap, like from this view where the forehead kind of inserts and tucks behind, like the hair, like the hair is overlapped by the forehead. Let's like carving the angles. So for doing the I, I think the best approach is to carve in the angles of the upper island, which become like the lashes, um, gonna cut this edge and slightly further. And then from there, just gonna make a little white for the I from there. So from that line, pull it down and turn it in just underneath that into the iris underneath and then put a little dark tick at the back corner of the eye to anchor the I in with the front facing plane of the Lower Island. Yeah, and so that's enough information for me to move forward to the color lay in stage. Actually, I just want to pull out this apex of the jaw here, so no, you guys, we'll go back and do that on your paintings. 4. Portrait Painting: How to Mix Any Color: in this video, I'm going to introduce you to the full palette, which will be using as we move to color and also show you a way to analyze any color so that you'll be able to free yourself up and accurately assess and mix any color that you ever want to mix. So I've got all of the colors arranged in an orderly fashion, moving from warm to cool and from saturated to de saturated. There's gonna be some premixed colors over here, which I'll talk about in a second. And as you put the colors on your pallet, make sure to put them around the outer perimeter of your palate so that you'll be leaving the center area clear and clean for mixing as you go. So we've got titanium white here. We've got what all mixed into a cream color here with a bunch of titanium white and a little teeny bit of yellow Oakar. We've got lemon yellow here. Cadmium yellow, deep cadmium, orange cadmium, red light, a lizard, permanent yellow joker, burnt sienna, breeding green, other cobalt or, um, like a cobalt thio or cerulean, just a sort of turquoise sea blue altering blue. Either lamp black or mars black, and then the premixed colors, which I'll talk about in a second. You can see that some of the colors are mixed down to what's called String Zero Got a dark , the darkest version of the color of the darkest purist version of the color of the back, and it's sort of mixed into a Grady int of white towards the front. This way, you'll be able to use, like from the lighter area of the color, if you're working the lights and say from the darker area of the color when you're working the shadow side. So it really helps with the mixing jets at the palate up this way and to create a string. I've left this one ready to do. You'll basically take your palette knife and do this kind of wiggly side to side stroke and just pull a bit of the color down into the white. You want to make sure that you get some color down in the base of the white there so that you don't just have white at the bottom. We've already got white on our palate over here, and you're just wiggling it side to side, pulling a little bit more color down. Make sure not to get any white in the back. You can see how the back of the color is totally, just pure color. You wanna have access to some pure color with no white mixed into it as you're going as well, So mix. Mix that out. We do it on a, um, the cagney and yellow deep, the cat orange cad, red laser and permanent meridian and the green. I don't do it on this yellow because it's already so light, and I don't do it on the blue or the black because we actually have a premixed section of those colors. Um, for this cream color, you can mix those together again. Just use a really small amount of yellow Oakar. You want it to basically mixto like a cream color. Views too much yellow car. It'll be too deep. Remember to wipe your palette knife off in between mixing so that it's clean. You want to just keep everything clean and ready to go This color here and again, it's described on the palate handout. This was going to be our base flesh color, and I've got a bunch of white, a little bit less orange, and I'm actually gonna mix this one first. Which is the little bit of yellow, a little bit of ultimate blue and a little bit of titanium white, more titanium white than blue. Mix this together, and then we're going to mix a bit of that into our base flash color, so based likes of flesh color is basically like a de saturated orangish color. And so, by mixing a little bit of blue into this orange and white, it's gonna make a little bit of a de saturated meeting, slightly grayer version of the color. So there's a few words that I'm gonna use throughout the course to describe color. There is hue, which is like the color of the color lake, red or yellow or green. That's Hugh. And then there's saturation, which is like the intensity of the color, like the vibrancy of it, like gray would be a really de saturated color. Orange is obviously released, intense and saturated, Um, and then there's also tone and tone is like the lightness or darkness of a color. So black is obviously really dark tone. This is kind of a mid tone. This blue white is really light tone, and so those are the three words that will use to describe color. We've also got a gray mixture over here, too stupid of black, really small amount of black. The black can be really potent, so creep up on the amount of black. And this is meant to just next to like a mid tone, kind of like the color of the palette that I'm using. And by the way, it's useful to use either, like a gray palette like this or a wooden pallet you'll find when you use those white pallets, it's hard. You'll mix the color and it looks one way on your palate, and it look at different way when you put it into the context of the painting. These last two colors here or what? I'm gonna be referring to his base shadow colors, and basically they're a mixture of complementary colors that will create like a rich brown . In the under painting, we used burnt umber as the brown for the under painting, and now I've actually taken burnt umber off the pallet. We have burnt sienna, which is a richer color, but not burnt umber cause burnt number is a little bit of a dead feeling color and instead will mix these two complementary piles together to get a richer, more varied, more interesting shadow color. So if we look at the color wheel here, basically we're mixing colors opposite the color wheel. We've got green on the screen. It's hard to see that this is green, but this is a very rich meridian green and are mixing it in with its complement, which is red. And by doing that, we're going to get a nice, rich brown color. But it's just got more of a richness, more of an interest, then burned number. It's hard to describe it. It's something that you'll definitely feel, so it makes us to kind of like a chocolatey brown. And again you can wipe the palette knife off, and then the next color is cadmium orange mixed with ultra marine blue. And so again you can see how these air opposite each other on the color wheel, and they're gonna mix to a slightly different sort of a brown. I find this mixture creates a little bit more of a greenish brown, and it's nice to have the variety and the options you'll find. Some times the shadows will look slightly green here, and sometimes they look slightly browner. And so I like to have both of these on my palette. So that's how, instead of the palette, this is going to make it really easy to work. So get your palate set up like this and let's get started. And there's three words that we're gonna be using to describe color. There's like you, which is like the color of the color, you know, so, like orange or green or whatever, that's like you. And then there's tone, which means the same thing is value, and that's like the lightness or darkness of, like, a color. And then there's saturation, which is the word that I'll use ah lot, which is basically like the intensity of the color, like the richness, the sort of vibrancy and so, like orange is a pretty saturated color. Burnt sienna is kind of like a de saturated version of orange, like it's brown or it's not as intense. So I'm gonna do a demo just looking at this fear, and I've got it. Let the same way as the models lit. And so we're gonna be able to analyze the color structure on the simplified form of the sphere. And I'm actually going to do it in a couple different ways because I think what's really important to realize is that you don't need to, like, know a recipe for a color like it's not that there's only one way to mix a color. There's actually like a lot of ways to mix the color, and you're just gonna always be judging it based on those three parameters, which is hue, saturation and value or tone. So I've got this, like value scale here with, like Light White being like, say, a one and like black being like a tan. Or maybe there's nine squares here. I can't remember, um, and so if you look at the body of the lights like the massive like the lights on the ball and you had to choose like a tone, what tone would you say that it is for the mass of the lights, not the lightest light on that ball that the overall mass of the lights? What would you guys choose? Valuable eyes on this scale? Yeah. Is that we said this one. Yeah, I think that that's totally true. Is that what everyone thinks? Or somewhere around? Yeah, I think I think it's like somewhere around those two, and those are pretty close together that brings this will, saying the same thing totally. So we can all see, like the value. And for a lot of artists, value is the most important. Like you can get the color slightly off. It's gonna be It's gonna be OK as long as the value clicks in. And then if you had to choose a color, what sort of color would you say? Thinking in terms of like, orange, red, green, that kind of thing. Yeah, I think so, too. Like maybe yeah, like orangy into ready something like that? Definitely. And then how saturated is it like Yeah, totally like is not bright orange. It's like brown. So let's basically we could come at it and I'm gonna do it in a couple different ways. Let's start with this burnt Sienna. Let's mix in some mid tone grey to De saturated even further. And what do you guys think of this color? Uh huh? Yep. Totaling more gray. What do you think like, Is it too orangey? Could be, Yeah, that's what I was thinking to a little bit of a pinky kind of who have overdone it. Let's add more gray and it still feels a little saturated. But that look well. What do you think about the color itself now? Like? I think so, too. Yeah, let's try a little blue and then to make it like, less saturated, we could. Yeah, we could actually add even more blue. That's a good idea. You can de saturate in a number of ways, So just adding titanium white to a color D sat treats the color cause it actually has a cooling effect. We don't want to make it lighter. Maybe we do want to make it a little later. Um, and then adding black to a color also de saturates a color and then adding the colors complement also de saturate. So if this is kind of a ready brownie kind of color ready, orangey, you know we could add like the opposite of orange on the color wheel is blue, so that's why will was suggesting a bit of blue, and I think that's a good idea so I think that looks pretty good. Let's just put a little bit on here. And once we put it on the canvas, um, we can see it's also I'm working on a white canvas today. Sometimes I'll work on that mid tone great canvas. And it could look ah, little different, but on the white, it's looking a little dark. So let's just add just a little more white. So there is, like, an overall light side color. What do you guys think? Uh, doesn't look to dart. Yeah, yeah, yeah. I think we're all thinking the same thing. Let's add more white in, So that looks pretty good. So next we're going to do the overall shadow side. And so, what do you guys think? In terms of the lightness and darkness, like of the overall shadow side? Where where does it fit onto this range? Yeah, totally. So we're in there, so it's, like, definitely a few noxious, darker. And then what do you think about the color? The overall color, not the blue reflected light, but the overall color of the shadow side, like red orange. Something like that? Totally. Yeah, I think so too. Yeah, exact. Yeah, actually, it's looking. That's kind of working. Totally. It's just And then maybe, do you feel like, um, do you feel like the lights air like cooler or warmer than the overall shadows? That's what I feel like to. I think that's the only real difference. And so it's almost like the shadows, or just like slightly more into that rich, slightly richer, Browner sort of area. And we'll just add a little bit of black to darken it and to de saturated. We'll put that in and maybe it could be a little darker. Let's just draw the outer perimeter of our sphere here and extend the light up to the light edge. There we go. Um, what do you guys think about the tone of that shadow side? You think it's a little dark? I think it's not a little dark. Yeah, there is, like the reflected light. Yep, like and that's gonna lighten the feel. But I think has a base. Like if you're looking sort of right along where the light meets the shadow, there's a good amount of contrast there. So I think this I wouldn't want to go too much lighter right in there, But next we'll get into the reflected light. And there's basically two parts of reflected light cause. Shadows reflect their environment. So it looks like this side plane up here is getting the blue. You know, it's facing the blue plane, and then the bottom plane down here is facing the wood. And so it's reflecting a little bit of warmth, like back into it. So what do you guys think? Tonally as faras, the blue reflected light goes, Where does it like if, say, if our shadow was, um but I don't somewhere between these two. What do you think? The tone of the reflected light. The blue one is just a little lighter, though. Yeah, exactly like it's it. Yeah, it's there is Onley ever so slightly later, like really not much. And actually, that's the most important thing with the reflected light is that people will over over lighten the reflected light and it'll end up like looking like it's part of the light side , like we learn about reflected light and we're like, Wow, that's exciting! And then we put like the lightest, most craziest reflected light in you've ever seen. So you want to keep it like darker. And I want you wanna understate the reflected light, basically knowing that there's a tendency to overstate it. And also, the fact that we've masked in the overall shadow side first is going to help because this reflected light is gonna like mix in to the overall shadow side. So I've just used a little bit of this cerulean blue and the ultra Marine blue and a little white and a little bit of what was on my brush, which is the shadow side already and just mixed it together. And we'll just see what that looks like in the context of this ball. And it's not really showing up. Let's see, okay, And so it could be like a little a little lighter so that it shows up, and as I'm putting it in, I'm putting it in, like if the edges here, I'm putting it in just in from the edge so that it doesn't go right at the edge, which can stop the turning of the form. So that's the other thing with reflected light is that there is a tendency for people to put in to light so that it competes with it almost looks like it's part of the light side side and they put it right along the edge. So then we don't get the big for modeling. It's it stops the turning of the form. So instead you have it just in from the edge. So I think that that looks like just fine. And then we'll go into the reflected light. The warm reflected light, and I think it's like the same kind of tone just ever so slightly lighter. Just like you guys said, It's on Lee, slightly lighter than the shadow side. And so you know that your going to be really controlling the tone and it looks kind of warmer. So I'm adding some orange and some red. It's a little bit more saturated, basically a little bit less de saturated, and we'll just see like okay, and sometimes yeah, if it doesn't show up, it probably needs to be like a little later. But we're really like keeping it controlled so that we don't go to light and again. I'm putting it on just in from the edge. And let's do the cast shadow to the cast shadow. So this is a form shadow that we've been working on. And then there's also cast shadows so formal cast a shadow on whatever it's sitting on. Cash shadows are often cool and form shadows if they're not reflecting something from the environment are often warm. And so what do you guys think, tonally about that cash shadow like compared to the shadow on the ball so totally meaning value? Yeah, that's exactly what I think. It's usually darker, right? I mean, the general rule. That cash shadows, right? Um, cash shows their darkest closest to the object that's casting them on Ben. They get lighter as they move away from the object that's casting them. Yeah, that is actually true. The lightness of the surface that it's sitting on lake effects. The fact that it's later that's probably like part of it. Just actually, that is true. It does get a little bit darker, like a long along with the room, but it gets softer and lighter as it moves away from the edge to, So it's kind of a few considerations. Ah, we can just put like a little lake dark. The darkest darks are often a little bit warm, so I'm using a black and some brown and some red to just create the dark, darkest, warmest place where the ball sits, like on on the, um, cast shadow. And then actually, there is sort of one other sort of area of the shadows. It's the transition right where the light meets the shadow and a lot of the time that's a little bit cool. So I'm just gonna makes a little bit of ultra Marine blue into what we we were using as our overall shadow side color. And I'm just gonna, like, wiggle a little bit of that along there. It's gonna help give more of the contrast and also just like set more of a, um like like a warm, cool, warm, cool kind of vibration. Um, and then the latest lights are often a little bit cool as well, so into what we're using for the lightest lights, I'm just mixing a bit of white again. Titanium white has a cooling effect when it's mixed with colors. If you want, you could mix a little bit of grey. I actually have a little bit of grayish stuff left over on my brush from this, and that will make it even cooler, and you can just put in your lightest light in a cool, cool sort of way. So we basically get this, like vibration of the lightest light being like a little bit cool, the mass of the lights being kind of warmer than the lightest lights. So the lightest lights a bit cool. The mass of the lights is a sort of warm. We get to the transition where light meets shadow and it's a little bit cool. And then the shadows reflect their environment, and this top up facing plane is facing the cool blue light and the bottom ones facing the wood green. And it's getting kind of warm. And then the overall look of a form shadows often warm and the cast shadows often cool. And then I just want to recreate this now, a second way to show how, um, we don't have to memorize recipes. So the first time I used, like Black mixed with burnt Sienna to make the overall like the based sort of color, and now, instead, this time I'm gonna use this red and green mixture, makes a bit of white in, and that looks a little too cool, so I'll add some orange, maybe a bit of red, some light, some more orange. It looks a little different in the context of the painting than it does on on the palate, because I'm using up mid tone palette and my painting panel is white can. Then going into the overall shadow side, will use again that mixture with the red and the green at a little bit more red and green to it put in our base shadow color. So it looks pretty similar. It's just a totally different way of mixing it. And so that kind of I just wanted to do that so that you can see that you really don't have to be memorizing like like, How did you make that color? I need to remember exactly which colors she used to mix it. That's not gonna be like sustainable in your practice and stared. You want to, like be judging it based on the parameters that he would saturation of the value. Now I'm going to use some of the variety in green, mixed with a little ultra marine blue to get a similar look to the turquoise that I used before, just bring that into the reflected light. It looks almost exactly the same as the other one. Get into the brighter, orangey ready stuff are. Actually, that's how I did the last time. Let's use burnt sienna and white instead, and a little bit of a lizard in permanent to reading it up for the reflected light that's warm. Bring that in. We can just add a little black to cool it black mixed with the meridian, I guess, and work that along the Terminator the transition between light and shadow and then mix white into what we're using for the reflected light to get our lightest light So they look like pretty similar right? And they're both mixed, like totally different ways. Get that cash shadow. So I'm not gonna spend a lot of time doing the second when I just wanted to sort of show you guys that using those parameters that we talked about and judging each color that way is the way that you're gonna be able to mix color. And so also you'll kind of mix something at your closest like attempt, and then you'll judge it based on again the hue, the value and the saturation once it's on the canvas to make any corrections from there. So you don't need to expect that you, like, makes it perfectly and put it down. That's probably not gonna happen. It's OK to put it down, have it the wrong judge it based on those three parameters and then go from there. 5. Portrait Painting: Color Lay In: so you'll find that the color Daniel that I just gave is actually gonna be pretty handy. As you move into this next stage of color, lay in. So with color Lay and we want to do a basic light side and a basic shadow side for each element on the painting. And so to begin with, it's basically like a flat color laying. So we're just getting everything laid in, and we want to keep the same amount of, like, definition to the definite nous of the light side and the shadow side, just the concrete sort of separation. So we're going to start with the light side, just like I did in the demo. I'm gonna use the burnt Sienna with the gray kind of like the first version. There's really no rhyme or reason. I could totally use the second version and adding a bit of white to keep it light. And that looks a little too light. So I'm gonna add, but more burnt sienna a bit more. I'm actually gonna add some orange and red as well. And so yeah, we're not hitting that latest light yet. We're just like putting in the overall light side and as it moves down, away from the light cause the light source is coming from the up like up here as the face moves down away from the light. It's getting a little bit cooler and a little bit less like a little bit darker, which is called Fall Off. So I mixed like a bit of blue and white, very dark blue, and this looked a little bit too dark. So I added a little bit more blue and white to adjust it, and I'm just bringing it through like the whole the whole area. The nose has, like a certain warmth to it. Ah, lot of the time ears and noses and fingertips will have, like a certain warmth to it. And you can see that, like the light side in this area, it looks pretty much like how I would color wise. Normally, you know, in any case, uh, have the flash color be like I'm I could use some of that base flesh color. Um, were yeah, it's not too uncivilized. It's just that there's going to be like other darker areas as well and going into the eye sockets. It's like a little bit. Um, I'm just looking and judging it based on the three parameters, and I feel like it's a little darker, so it's a little darker. Tonally, it's a little bit like less reddish or less orangish in the forehead. Maybe it's like a it's a little more de saturated, maybe even a little bit more cool. That might be an overstatement, though. It's like, pretty neutral. So just getting that in there and you can see that I'm like crossing over the lines for everyone who's asked about the eyes today, you can see why we don't want to be like refining the eye yet. We're losing the I first. So don't worry if there's stuff which there is on everyone's to do with. The eyes were gonna lose that. So let it cross over the line. Yeah, just lose the line completely. You don't want a little bit of like under painting lines showing through the edge of of each of your forms. You want to just, like get some good coverage. I'm not using any oil at this stage, either, just using pure paint to have a nice consistency. The ear I'm gonna add, like a little bit more red to that overall light side to get a little bit more pinky nous to the ear. Maybe that's a bit much soul. Just lightly brush over that with the other more of the base flesh kind of color. I think that little pinky nous is gonna be good for some of the nose to just, like, get a little bit of color in the face. It's nice to have its good at this stage to hit the saturation, you know, because you might find in likes future stages that it's going to get progressively d sat traded? Not necessarily, but it typically does. So you want to make sure that you're hitting the full saturation without over doing it into like the muscles around the most. They're feeling mawr just a little cooler, more like the bottom of the face, like we're moving away from the light. And so as we move away from the light, the color is getting darker and cooler, and I could look a little weird, like at this stage, um, this fall off, Sometimes it can look a bit like a four o'clock shadow or something, but it won't look weird when we get all of the rest in for the lower lip. It's part of the light side to it's basically just a little bit redder than the overall light side color. So I'm just adding a little bit. I added a little bit of a lizard permanent. You could try a little cat red, too, but it's basically the same tone as the skin around it. There's obviously some highlights in it, but we're just doing the mass of the lights and yet so stupid pink here and don't have, like any edge said this part. Just see how I sort of, like, swiped across it to make a soft edge. Um, also as I'm putting the painting, have you guys noticed how I'm kind of putting it this way? Like I'm not running along the shape of forms? I'm kind of wiggling at parallel to the shape of the edge. That's something that you could do. It's called painting across the form, and it's, um, a good way to go. So moving into the neck, it looks darker than the jaw. You know, there's like it's actually pretty close to the side plane of the job, but I feel like it's just slightly darker, which makes sense because it's moving away from the light and it's like a little bit cool. By mixing some cool stuff, there could be any number of ways to make it cooler. I happened to have some ultra marine stuff in this area, so I am using that. So you want to do the whole light side, everything in the lights first, and our lights are these warm lights. The bluer parts are the reflected lights, and they're part of the shadows. So moving into the body, cause, yeah, you want to do the body as well as the face altogether that looks too saturated. Will de saturate with a bit of blue and probably de saturate with a bit of white to it could be later. Oops, I had way too much blue and I'm working like really broadly, like I'm not working finishing the eye or something like that. You know, I'm covering the whole thing like and eliminating a lot of detail. We're gonna go into the detail in the next phases. I'm not even getting the darkening at the edge yet. That's the next stage. I'm just getting a flat color early and okay and then also do like a light side hair. So you want to make sure that you kind of, um, make a definite light side to the hair. Sometimes the light side of the hair can get obscured. So I'm making kind of an overstatement of a light side. It's like a grayish darkish color just to make, like, a definite nous that there's a light side and I'm gonna be darkness towards the edges. So it's going to read darker later. But I just want there to be like a definite light side, and then we'll start to get into the shadow side. Let's just do the shadow side of the hair now. It's basically black, maybe even a little bluish, culturing blue. And it could be a little darker. And then to deal with, like, the shadows, I'm gonna put like a mass of shadow side through the whole thing and then pull the reflected light into that so kind of like we did with the ball, I'm actually gonna put sort of a brownish like color all the way through the whole shadow side and then put the reflected light into that and that's gonna help the reflected light, like sit in the shadows, sort of help prevent us for having it like end up reading us lights. And I've mixed a little bit of oil in to the color. Um, looks like this arm. There's often a tendency to make the neck too long and yeah, that's just one adjustment that I'm gonna make their just looking for the color that I want to mass in the overall shadows with it. Some. Yeah, something like that. I'm mixing a little more oil and as I do the shadows so that the shadows air a little bit more transparent than the lights. What? Well, it's actually kind of Ah, um, it's a thing that a lot of artists do, and you don't have to actually do it. Sometimes, stylistically, you can like, not do it, and it can be kind of interesting, but in a more classical approach, Um, and with my training and this more classical approach, they would normally make the lights more opaque, the shadows more transparent, and it would make like the lights catch the light of the room and they come forward and our eyes move through all these layers of transparency and they set back and it creates atmosphere so it can enhance the sense of form when you do that. So I'm using yet basically like a sort of warm sort of purple e kind of color for the massing in of the shadow side lately brushing across everything if you kind of rub it with your fingers like you can still see where where features are If you, um you know, really start wanting to know where stuff is, so you're not gonna, like lose it entirely. Rubbing it with your fingers helps keep it like thin. And I'm also actually using my fingers to kind of connect where the late meets the shadow, and and you can also use their finger to kind of soften the edge of the hair. You really wanna have, like, soft edges in your hair, and then we'll just get the upper lip in the upper lips, basically a brown ish purplish, definitely darker because it's cast in the shadow, darker upper lip kind of pinky not too saturated. Okay, so that's basically like the color lay in. And I'll show you guys, you know, the big for modeling and all the other stages next, but I'll get you guys to just get your paintings up to this stage first. 6. Portrait Painting: Big Form Modeling: we've got, like the color lay in at this phase. We've got the light side in the chat aside, and now we're moving to what's called big for modelling, which is where we like dark and towards the edges. And we can kind of do that by darkening towards the edges and by lightning in the center of forms. So we're aiming to get, like the spherical nature of the head, the cylindrical nature of the body, the neck, the sort of flattened cylinder of the body and so forth. So first will just start by just like wiggling a little darker tone along some of the edges . And I say wiggle, because it kind of creates a nice sense of it, like rounding into that form rather than just like painting the stroke, although you could initially apply the stroke painting following the shape of the edge like this. But then, after that you'll do like this wiggle kind of stroke, which just helps it kind of render into that edge. So just just like we like, systematically work through and make sure that there's like a good color lay in so that all the lights are unified. All the shadows a unified. We kind of just, like, spend a little bit of time to just, like, systematically work through the whole thing in this kind of focused way, making sure that there's that darkening towards the edge all the way around before really getting into, like putting the smaller planes of the features in to the painting and like one side might round in a cooler way and one side might round in a warmer way. And that's kind of what I'm perceiving is like. This side darkens into a little bit of a warmer note than the side on the left. Do the same thing with the hair. So just getting like that big form pink for modeling sense. And then we can also start to hit some of the stronger lights in the center, the forms, and that's going to bring out the Big Four modeling as well. So when we started, we kind of put down the mid tone lights and now will like put in the lighter lights in the center and, um, it's like, well, set up for it because we've got the cooler, massive the lights, like, said in. And so um the color of the edge of an object or the edge of a form. A kind of gives the color. It's how we read the color. So we've got, like, this warmer glow in the lake overall light side. And so, as we put the cooler lights on top of that, we're still gonna have, like, an overall like warmth. They're still gonna be the sort of sense of warmth to the skin where if we only hit the coolest notes, which are the most prominent visually, it could end up like just seeming all cool, you know? So that's why we kind of started with our warmer lights to make sure that it ends up with a nice sense of the accuracy to the colors and, like the chin form also rounds down. So it's darkening and rounding to this edge, just like it's darkening and rounding to that edge. So oh, work along that kind of applying it with the shape of the form and then kind of wiggling across it. And I'm gonna hit that darkest, warmest note. That's the cast shadow right underneath the jaw here. And I also want to start to just like restate um oh. Could someone turn that off? Thanks to set. Thank you. Yeah. So I also want to start to just, like, restate some of the features like to make sure that, you know, we know where they are. So just restating the brow, restating like, roughly like the lines of the eyes. Don't worry too much about the ice. Still, today we're going to go into that even more tomorrow. At the beginning of class of the beginning of the day. Tomorrow I'm going to go over some feature handouts that will give you even more information about the features. So basically, we're just, like, restating, like what we had just like a rough estimate. And we're gonna be refining that tomorrow. I want to get, like, a basic color laying for the eyes, though There's, um the white of the eye isn't too white. It's like a sort of grayish, bluish mid tone color. There's a tendency to make the white of the eyes like two white and restating the lines of the nose with the nose. Um, actually, first of all, let's get the Big Four modeling of the nose and have the nose round down to the darker plane that is actually on the lower, like plain of the nose. So that's a really important plane that way. Now, as we set the nostril in, it's gonna just set within that plane. Um, and it won't seem to sometimes a nostril consume. Really? Like a big, crazy nostril, if we, like, aren't careful about it and setting in the line of the other. I watched this eyebrow in this kind of angle. Like a 3/4 angle. It comes just a nice, strong angle Lake. There's a really nice character to an eyebrow from this angle. Also don't have the eyebrows to, like, strong and lining like notice how they're kind of subtle for And I'm gonna be refining the eyes later actually gonna have her looking at me like eventually. But I'm just putting Yeah, the basic suggestion. And and then in the middle. Okay. So we can start Teoh move into the blues at as well at this stage, so well, um, bring in a bit of the blues, okay? That's not what I want. So I'm gonna use some ultra marine blue, some cerulean, a little bit of white. It's just like the demo this morning, and I'll just like, bring in some of the cooler notes through this side and notice how it's like still, um, sort of subdued and sort of dark and not super crazy. Crazy blue. And so go for it to be like a slight understatement of like what? What you want it to end up at for today, mixing a little bit more white into this? It could be a little later. I'm going to switch to a smaller brush to, and it's just in from the edge, so it's not right at the edge. It's still darkens and rounds like into that edge. There is a little blue like running down the side plane of this knows, too, - and then down the side plane of the neck. And then there's a really nice sense of that blue color through the body. It's like it a really nice kind of royal blue, and it's kind of picking up the forms of some of her ribs. Yeah, like the rib cage like this is the collarbone. And then there's a little bit of definition of the ribs showing here, and then over here, it kind of wraps around the form where the, um, pectoral muscle meets the rib cage actually almost looks like it could be, like even a little purple lee blue as it rolls back on the side. So it's all this side placing facing planes. So on the side of this arm as well side of this here when a little bit through the sides of thes two. Because that starts to turn towards that side facing plane and the lightest lights air sort of cool, like running through the body. And then we can restate the lines of the ears as well. There's sort of a triangle where the ear meets the, um Daw. Then there's the odor rim do with angled straight lines. Then there's this form on the inside. Also use like a radish, like a warm sort of color. And there's a little Viet the top of this, and check to see if the shadow underneath the most, um, make sure it's like dark enough only in a small little located like area. Don't let it extend too far over in a dark way that can start to make the lower lip like look like it's pouty or something, but just in this small, little, localized area right under the lower lip you'll get like the darkness. Also, there's a little bit of a darker cool, which is typical for a cash shadow cast shadow underneath the nose. I was creeping up on the amount of darkness in this like eyebrow. I'm gonna go a little darker with it. The eyebrow basically turns into the shadow behind the nose, but the nose is kind of lost through the bottom. Here. It's not like a very strong definition. So you can let it get kind of lost and settled through there. And one last thing is that the chin like rounds down to become a darker note in front of the lighter note of the neck behind it. So I'm just gonna work that Gen zer actually a tricky area. And so, yeah, it rounds down, it becomes a shadow side on the bottom. Does everyone see that the chins like dark like on the bottom, and it overlaps the neck, which becomes light. So lighten up that Mac just a little bit. So the contrast that gives the sense of the chin in front of the neck is like this. Yeah, So that's basically what what I would do for the Big Four modeling stage. And so that's what you guys will be focusing on for the rest of the 7. Portrait Painting: Describing the Features: Yeah, I'm gonna start to just show you how I would take, like, the more linear stuff that we talked about on the handouts and apply it to the whole form. Sense of the features. So with the eyes, the odds, there's only one eye which is your center of interest. So choose which I not both but one. Oh, yeah. And can you kind of look sort of like at me, but not at me like, Yeah, that's good. Um, so choose which I is gonna be your center of interest, and you're gonna have that. I have more contrast. Here's the airplane stroke for the lashes. I'm starting with the brush firmly on the line. You have created this upper eyelid line, which was just with black, and now I'm going to do a little airplane stroke. Just sort of pulling and curling as I go to create that really nice look to the line of the lashes. And it just looks really subtle and nice and natural. And then I'll pull down from the line into the pupil. The eyes air like, darker in most of the iris, and we really see the colored part of the eye showing in that bottom area that we talked about. For now, I'm just sort of putting in, actually the overall darker stuff, the iris first. And then I'll put in the lighter, slightly lighter area at that lower part opposite the light source. Little lights coming this way so that part of the colored part of the I'll show more Down here, there's a little speculative. Highlight is what it's called on the I speculum highlights air like a reflection of the light source. It's the white gambiae. So if the late services coming this way again, that white dot is going to be on the same side of the light source on the edge of where the pupil meets the eye and then we can see that little light rim of thickness on the upper edge of the lower island. Actually, I'm gonna need to anchor in the tone of the white of the eye a little bit more, and the way to the I is not as white as we think. Um, and also the white of the eye gets a little darker as it moves up, because there's a cash shadow coming down on the whole I. So just like look at the shape of that triangle. It's just, you know, just, like really mimic the amount of the white of the eye that you see and then put in that light rim of thickness. Remembering the lower eyelid should, like, really wrap around the form of the I. There is a darker front facing plane to the lower Island, which helps, like define that little light room of thickness, cause then the light room of thicknesses hitting a darker note so that we can see that there's a light room of thickness there and the back of the eye kind of softens like the lashes get kind of lost into this lake shadow at the back of the eye, kind of like a smoky eye with makeup, but it's actually just shadowing changing. There is, um, we're not seeing a strong I crease cause the eyes aren't like fully fully, um, open. So we're sort of just seeing a tonal suggestion of the indentation of where, like the um, bony structure of the eye socket ends and the kind of forms of the eye are coming out also . So today we're like going into the features going into the small forms. We've established the big for modeling and the color lay in yesterday. And so as we go into the smaller forms, we're looking to describe three planes for each form, so and we wanna have a different tone in a different color for each plane. So, like on this upper eyelid, do you see how there's a dark side plane? There's a light front plane, and then there's a darker, which I haven't established properly yet. Front plane, and it looks a little bit cooler at the back. It looks kind of neutral on the front, maybe even slightly cool in a different kind of way than the side and then a little bit darker and warmer in this left hand, which then softens into some shading around the nose. And I'll just restate the line of the I a little bit on top of what I've done. Let's get the red tear, doctor and and let's get the um, we follow the same color structure is the whole painting of established. So the lightest plane or the latest note on the center of the island is a little bit cool, just like everything in our painting. The lightest lights are cool from There will just kind of keep working out and up. We'll get into the little bit darker for the brow. I'm gonna use this Graner brush to just make a slightly darker still a hair like sort of suggestion, too. That brow. And I'm also just gonna go slightly, just a little bit of an angle that's coming down this way at the back. It kind of anchors the eye, and I see some shading like that and maybe a little darker in the deepest part of this form here. And then let's go into the other. I, too, So the other eyes, not our center of interest. I It could be on your painting, but you'll wanna have chosen one and not both. So on my painting, it's not. I'm going to start with this angle that comes down from the eyebrow and goes in to the nose and is describing the side of that I and then it's warm in the deepest part of it, and then as it pulls outwards, it gets cooler on the front edge of it. That's a bit too cool. I'm gonna gray that down a little bit, and it's a bit like a triangle, so it's narrow here, a little wider at the top. Then we get into the brow, so it just kind of gets lost and turned into the brow. Really look at the angle of that brow and then let's describe the three planes for the eye lid. We've got a later plane through the center, lighter cooler. I've already got the darker right hand side plane, and then the front door of the left hand side plane gets a little darker and a little warmer. Same structures, this one lighting wise. We get into some nice schools in the eye socket, both that island, and then I'll draw in the lines, sort of in a linear way, like what we talked about on the handout. I start with the line of the upper eyelid and just look at me, kind of like right here. That's perfect. Yeah, I think her eyes were just a bit bigger than what I initially had. I always seem to do eyes, actually, slightly small. I think it's because at first people make eyes way too big, so I kind of figured that out and started making the eyes small to be safe, kind of overcompensated. Get some of the form of the front plane of the lower lid. I see a little bit more of a crease on this I because of the angle, just the upper island that more defined there really look at the relationship, like between your eye and that shadow that it merges into in front of the nose and, you know, see whether it like touches. Sometimes there's a tendency from a 3/4 angle to have this. I too far over from the nose of this shadow help you like, really anchored into the right place, um, and then get the white of the eye in, which is gray, not white, if I would this and it looks pretty light when I put it in to, but this is great. If I put it in as white, it would look like really like Bug. I, like it would like make the eyes look freaky. So get the tone right. A little suggestion of the other what, um, side of the white side of the eye. And again it's gray. It's a little bit even greater than the other side to their light source is coming this way , and I'll pull down from the upper eyelid line into the darkest part of the pupil. Put the little suggestion off the colored part of the eyes showing and that bottom area opposite the light source and the little speculate highlight and doing this with more of a blue bluish gray. So this one has more contrast. Also, you have to be really careful to just get it in exactly the right spot, because those two little speculate highlights can, like, make the eyes look like they're looking in different directions if it's not the same. So those speculate highlights almost like make the eyes, um, look like they're looking in the direction that they are. This can come up a little higher, so I'm kind of just setting it all up for the eyelashes, which will kind of be the final touch. And I'm gonna make the eyelashes slightly less dark on this back. I again starting with it like firmly on the line action, going to use a little more oil, use a little more oil when you do this so that it flows fluidly. So, yeah, I'm starting with it on the line of the upper eyelid and then lifting and pulling and sort of curving as I go. Maybe I will use a little bit of a darker note. One more. There's a strong silhouette at the back sort of shape where the I lash girls off. So I want to make sure we're getting that and then just a little bit of a dark tick at the back at a certain angle here, too, and then going into the nose, I'll just darken in the nostrils. I've got most of it set up pretty well. Just do the CME, using a reddish color that gives like life, you know, to it. So this is just a lizard and a little bit of black. I've used it in the tear duct. I've used it in the nostrils. If you go to like the med and, like study the work, you'll see a lot of artists do that, and it gives a nice color and feeling of life to the portrait. Let's go a little bluer into the side plane of this nose. Get that in a little bit bluer into some of these shadows. Yeah, the lights that are coming through the shadows, a little lighter and a little blue or so Yesterday we kind of kept it controlled with our blues, which was good. And today we can go a little stronger. But still one thing it to look like. Reasonable. So not if we get the right tone, it's gonna look like pretty good, I think right beside this blue, I need to actually introduce a slightly darker tone. So we're looking for the three planes for each form and the three tones, and it basically gets a little darker before it hits that blue note on the forehead. Keep the hairline really soft. Maybe I'll make that blue ever so slightly lighter. Yeah, a little bit more blue through the cheek that could be a little darker. Actually, there's actually a little bit of blue coming through the side plane of the I lid as well, and then getting into the mouth so you sort of just like work down. It's good, like as you're getting into the finishing details to kind of started an area and then, like work out and down from their cause, you'll see the relationships between each thing more clearly that way. So getting into the lips, my lips, um, I don't think, have quite captured her expression. Maybe the mouth comes a little wider. Let's start with the center line of the lips. It also cuts down more in that center, feet apart, and there's a little bit of the cool on the side plane of the lips to. And actually, I think I'll stop there and I'll finish the demo of the lips after lunch to get you guys started so that, um, yeah, so that you guys can get started with this. So thanks to India. 8. Portrait Painting: Finishing Touches: So we're getting into, like, the final details and a lot of the time the final details have to do with, like, the surface quality of the paint and the edges as well is just refining, like the exact shape of the features and just sort of drawing elements. So I'm gonna start, actually, by working along the outer edge of the figure first and just like carving out sort of working that edge quality like, you know, it looks kind of dry brush. She and kind of Krusty in part. So I'm just gonna like, carved along edge and bring a nice clarity to it going with the form first. And you can see that the paint that I'm using us like a good amount of paint like mix enough paint on your palate that there's like good paint coverage, you know, like you. So it's not like really dry looking and thin and stuff like that. Someone close that door by any chance, Thank you. Looking at the shape of the ear, the ears like wider the top years air always wider at the top and narrower into lobe. So make sure you get that and then I I don't want I like the I don't mind the line going with the form along where it's meeting the body, but then I don't want to just have, like a paint stroke that mirrors the shape of the the form, a line along the edge. So I'm kind of just softening it upwards so that had it loses itself into my background. And then the hair has, like a different kind of edge than the skin you know, more soft, some sort of irregularities in it. So you want to just mimic the texture of the shape of that edge, and I'll probably cut back out across that as well with edges. It could be nice to work both sides of the edge so that you get like a certain quality of wet into wet into that edge and look like along the skull for the apex changes. There's like an apex here in Apex, here in an apex here on skulls, so it actually needed to pull up my top apex slightly, - and I also want to get like you want to like hit the darkest darks in the finishing stage, hit the lightest lights at the darkest darks get the full amount of contrasts. So I'm going into, like the darkest parts of the hair and making it a little bit blacker. Been working down the front edge of the face. The hair gets like, slightly overlapped by the forehead. So it's like we see, like a little bit of hair from this angle and then on the forehead kind of comes out and and that it's the forehead that's meeting the edge and then it cuts, like, really pay attention to the angles cause sometimes will think. But we know what the angles should be like, what kind of make them the way we think they should be, and they're not actually quite like that. So it comes that kind of straight through the temple and then and kind of straight down the side of the cheekbone to, and then it starts to curve under into the side plane of the jaw, and I'm just gonna bring the color out to this edge a little bit more thoroughly, and then the softer, like the more round of the form, like a cheek bone like the cheeks, are like a little bit flesh year. They have like a roundness to them and like a nose is like a Bonior form. And so the more rounded the form. It could be nice to have, like as suddenly softer edge quality to the place where the chic meets the faith, the background. So I'm kind of like wiggling along that edge to make a little bit of a softer, wet into wet kind of quality along that edge. And like if the nose was like overlapping the background, since the nose is more of a bony for my would probably just keep it a little bit sharper. And I'm just bringing a little bit more blue through here. We're seeing like, a little bit of like the cheek bone before the eye starts great in here. And then I'm gonna go a little bit lighter with the blues in the center of the blues that's going to light and, like the top plane of the cheekbone has some nice light cools. And then there's also a little bit of a deeper blue in here where we're seeing a little bit more of that angle. Change that, suggesting the nose inserting into the skull and like it's pretty lost through here we can see, like a little bit of definition, but not a whole lot. So you want to kind of capture that subtlety through the middle of the nose, keeping the blues like really soft edge. So they fit into the forms and it doesn't look like a local color. It looks like a highlight on the face, and there's a plane change in the cheek from the cheek to the mouth muscles. So we kind of see some definition where that plane changes on both sides. So whenever you have, like a form on one side, check and see how that form is described on the other side. Oh, okay, I will challenge. So the suggestion of where the like cheeks kind of meet the most muscle is subtle things. There's a plane change at the top of the forehead, so, like there's the front facing plane of the forehead and then the top face in plain of the forehead, and that's an important plane change. So look to see how that's like affecting the light and then getting into the mouth. The upper lip has a nice, rounded like edge through here as it rounds towards that center dividend. So I'm just rounding it a little bit more. Maybe even a little bit more. And like the color gets like, kind of lost. It sort of rounds into the shade right in here. Also, this form rounds into the center line, so I'm just like having a dark and end toward that centerline. And it also rounds in threats of both of the back corners of the mouth that sort of rounds into a shit shadow were sort of note. So you're looking just like the specific shapes. There's that center divot, which you can see is like super subtle, keep it really subtle. There is a little bit of a highlight along the edge of the upper lip, and that also should be kept like really subtle. And there's like a little bit of light gets picked up back. Here were that form of the cheek rules into the form of the mouth, which is another way of kind of describing that I also have being. I want to get into the lights that, like the lightest lights inthe e lights side sill, it's go ahead and go into this as well. For the highlight on the ball of the nose. It's yeah, right around here, and it's soft edged. And then there's kind of a highlight that carries up from there and runs along the bony, changed from the front plan to the side plane of the nose and extends like a little bit on top of this nostril as well. And then there's like the bony structure off of the nose meets the structure right through here. And there's a little light that picks up there going back into the most let's see. So first we want to get, like, the sort of shadow pattern without the blues, like on the lower lip. So this the light side here is like in light. This site is more like in shadow. And then we do have some highlights of the blues, like picking up in the most on the edge here and a little bit in this side here, and a little highlight in the center of the lower lip in the light beside and then chins air like super um, important to the expression of the most. And if you have this shadow to light, which it is right now, then the most won't seem to have enough definitions, so we have to get the right tone, and it needs to be darker at this stage. And then if it extends too far to the sides, it'll start to, like, create a weird form and make the lip look like it's sticking out, like in a party sort of way or something. So we sort of have to have edge, soften and get lost in the right place. But if you and so you can see that the skin tone here is the same tone is the lip. So that edge is like really lost? Oh, yeah, And then there's also the little muscle Talks like the muscles that move the lips are just a little bit cooler, really soft coming in at the back again. Whenever you do something to one side, see how it's represented on the other side. It's really subtle, but I do see a little suggestion of that muscle back there and then the chin. Yeah, I keep saying how chins air so hard. Um, okay, so I need to get a little bit more contrast with Tim overlaps the neck. That contrast is what brings the chin in front of the neck and is important. And then it has like a really soft, softening, upwards kind of an edge to it in a warm kind of way. And then there's like this reversal were then the shadow underneath the chin is what's occurring on the neck. So it's kind of darkest on the chin and the late and then darkest on the jaw underneath the chin over here. And then there's like a little bit of a highlight picking up on the chin here. And then I wanted to just show you as well, getting into, like, the texture of like the latest Leight's. And actually, first, I'm gonna soften this out a little bit. So, like with, like the lightest lights, like on the forehead, it can be nice to have the texture, like, really physically built up. And there's a certain way that I would apply that paint, and I'll just finished softening this. And so you had to do that. I would like, really load up the brush with, like pretty thick, like a lot of pain, mixing a color that's like not too late, cause it's going to really stand out light wise because of the thickness of the paint and just tryingto And we wanted to be, like, slightly cool like we've been talking about. Not sure what color that's gonna be on my canvas. Okay, that's too light. So I'm gonna, like, darken it down and I'll make it a little pinky. Great year. Okay, that's good. And so I'm gonna, like, push, like to pick up the paint. Like, normally, I would brush like this to pick up the paint, but I'm gonna, like, push to get even extra pains is like, really glob e. And then I'm gonna like, place it on the canvas, push my brush, pull it around, pull it up with little airplane stroke. Kind of pull it this way, like the stroke Look like, looks like it's doing. And then I'll just, like, kind of dab it with my finger a little bit at the edges, so we want the edges to be, like, kind of blended, but the center of the stroke to have, like, the thicker text. I'm gonna do the same in the cheek bone, maybe a little pink ear in the cheek bone. And sometimes then, from there, you'll just like work like with a slightly darker color just a little bit around that area to make it make that stroke like sit in so it doesn't just feel like a random stroke that feels like it's fitting into the forms of what's there.