Painting the Portrait in Profile | Kristy Gordon | Skillshare

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

Watch this class and thousands more

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

Lessons in This Class

15 Lessons (2h 33m)
    • 1. Portrait Profile: Introduction

    • 2. Portrait Profile: Materials

    • 3. Portrait Profile: Underpainting

    • 4. Profile Portrait: Proportions of the Face

    • 5. Portrait Profile: Brush Techniques

    • 6. Portrait Profile: Color Mixing Lesson

    • 7. Portrait Profile: Light Side Color Lay In

    • 8. Portrait Profile: Shadow Side Color Lay In

    • 9. Portrait Profile: Big Form Modeling

    • 10. Portrait Profile: Restating the Features

    • 11. Portrait Profile: Ear Handout

    • 12. Portrait Profile: Glazing

    • 13. Portrait Profile: Describing the Features

    • 14. Profile Portrait: Highlights and Edge Quality

    • 15. Portrait Profile: Finishing Touches

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About This Class

In this 2 hour and 30 minute class, New York based artist and teacher Kristy Gordon will take you through the stages to developing a portrait painting in oils using photographic reference. The class was filmed in a workshop that she taught, so you will feel as if you're right inside the classroom with her!

You will learn how to tone your canvas before you begin and how to use oil paints so that they're fun and easy. Kristy will walk you through measuring techniques that will ensure that you get accurate proportions and a good structure to your portrait. 

Next you will move to color and concentrate on big form modeling.  There's a special focus on glazing in this class. You'll learn how to construct the eyes, nose, mouth and ears by glazing to fine-tune the details.

Please download the attached files, which include handouts that describe the construction 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.

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

Teacher Profile Image

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 Profile: Introduction: I'm Christi Gordon, and I'm a New York based artist and teacher and in this class will show you how I developed this profile Portrait painting in oils You can follow along with me with the photo reference that I provide or use thes stages to work on any other portrait that you'd prefer . I didn't from life, but you could follow along with me using the photo reference that I provide or apply these techniques to any other portrait that you desire. The skills that you'll learn in this class convey basically be applied to any painting that you'll dio, and I'll show you how to basically develop an under painting using burnt umber oil paint and then let that dry and move to color. Lay in to establish the main colors of the painting, and then we'll describe the different planes of the face and features. They'll be an in depth look at the description of how to develop and construct the nose and the eyes and most an ear, and then we'll look at how to achieve the finishing details and get the hair light quality and the fuzzy quality of the shirt. I'm really excited to see how your painting turns out to make sure the post of the projects page and skill share. And I hope you enjoy this class. 2. Portrait Profile: Materials: in terms of the materials. I have my palate set up on some white palette paper, and on the palate we have titanium white cadmium, yellow light, cadmium, yellow deep cad, orange cadmium, red light, ah, leisure and permanent burnt sienna yellow Oakar, some cobalt blue, Floridian, green, alter, marine blue, ivory, black and I also have some premixed mixtures. This is a mid tone grey made with ivory, black and titanium white, and we've got a base flesh color that's made with the cadmium orange, the titanium white and a little bit of this blue mixture. And the blue mixtures made of ultramarine blue and some titanium white and lastly, have what I call a base shadow color mixture that consists of ultra marine, blue and cadmium orange. I have a range of brushes of Phil Burt's and bright brushes, and I have some blue shop tells as well as some walnut Alcon medium, which I have in a little container on my palette. We're gonna start by preparing our canvas with an acrylic base, Jess. Oh, so I've got this white acrylic gesso here, and some black acrylic paint and some yellow ochre acrylic paint. This is some liquid acrylic. This is a to paint, but either one will do. This is just what I've got today. Um, we've got some liquid tax, some gold, and I like those two brands in terms of acrylic brands, and I'll be using this foam brush to apply the paint. That way, it'll get a really smooth, even code free of ridges from a paintbrush. And essentially doing this is really gonna be important because it basically like, smooth the texture of the canvas. So there won't be the kind of, like, bumpy, sort of texture of the canvas. It'll just smooth it out, making it to be a really nice service to work on. It'll create like a mid tone tone to work on so that as you develop the painting, you can pull up the lights and it'll stand out against the middle tone of the ground and deepen into the dark, said It's just easier to work on, then the white canvas. So to get started, I'm just gonna dip my brash, my phone Brash. This is about a two inch foam, brash and width right into my white acrylic Jess. Oh, and I'm gonna be mixing it right on the canvas. Let's take a little bit more, but you'll notice there's not a whole lot. So if I use too much paint, I'm going to get ridges. So I wanted to eventually be a fairly a really flat and not too thick coat. I'm just gonna put a little blob of the black. I'm gonna mix it right on the canvas surface. Just a little bit of black. The black is really powerful, so I want to creep up on the amount of black, and I'll use more yellow Oakar proportionally compared to the amount of black that I'm using. It is the yellow car is not quite as potent. It's a little sloppy just mixing it on the canvas, But it'll we'll mix it together and see what we get. And basically, we're going for like, a mid tone color. So like a mid tone grey, but just a little bit more into the greenish kind of range. So I've added a little more yellow Oakar. This might be a little dark as well, so put a bit more white. This is just white Jess. Oh, so it's not white. Paint its weight Jaso, and that looks pretty good. So now I'm just going to kind of pull it all the way across the canvas fairly vigorously and it's thin. It's a thin coat of paint that's even a little bit too yellow. Hot, let's add a little bit were black to the mixture and a little bit more of the Jess Oh itself. Just mix that all together. The color. You know, that can change a little bit from time to time, so it'll vary. But generally I like it to be close to gray, but just a little bit in the greenish range. The yellow car helps it be a little bit more greenish, so just kind of vigorously. You can see that I'm like changing up the direction of the stroke like I'm not just going line line line. I'm kind of changing it up. And by going over any places that has little blotches, it just mix it in, mixes it in more evenly, and that I could just lightly brush across to smooth it out after to really make sure that there's no ridges. So I'm just like pulling it all the way across the whole canvas first, changing the direction of the strokes, and then once I've got the whole thing covered, then I might just go kind of across to really flatten out any strokes and then maybe go, you know, in other directions so that we don't get any strokes that are any one way, and it's okay to have some variation. I think that's even beautiful to have some lighter spots and some more transparent areas and more we'll pay. Carrie is that way. You're starting right from the start with a beautiful looking, slightly varied kind of visually appealing surface with which to work on, and there that will be a really nice surface to work on. 3. Portrait Profile: Underpainting: work on. We're going to start by developing an under painting using just burnt umber oil paint. So what I normally like to do when I'm working from life is basically make a viewfinder with my hands and look at the model through this viewfinder, and you could basically move it in towards your face to get like, a wider cropping and away from your face to get a tighter cropping. And you can basically see what the composition is gonna look like by doing this. Think about leaving more space in front of the direction that the heads looking and less space behind the head so that I just start by doing like a loose gesture, just like an oily kind of gesture, but just represents the basic composition that I'm envisioning. I think I want the head to be bigger than the body, like the height of the head to be bigger than the height of the non head. And so I'm using a lot of the woman Elkan medium at this stage so that it's really oily that way, if I need to like erase, it is really easy to erase. I think I'll have her engage the edge on this side and so to erase you just dip your rag, like in the woman Ellicott, medium and just, you know there's no commitment, so you don't need to be worried about, like going straight in with pain, to not blocking it in first with charcoal or something. And then this is where we start to get into the comparative measuring applications. So now I'll basically take the height of the head on this, and I remember that it should be 1 to 1. So as I compare it, I can see the width needs to be a little bit greater. So it's like a start with just a rough just to get the placement on the canvas, knowing that it'll probably be a little bit like inaccurate proportionally to begin with. And then I start to make the adjustments using comparative measuring. So the next thing I want to do is basically divide the height of the head in half, and if I just check that with my brush, you know, I could check the bottom of the chin to bottom. But to the tear ducts, tear ducts to the top of the head, it is equal, And then I basically do that, like in reverse on my canvas. And that is gonna be where I's gonna go. Um, a really important one to check is the front edge of the forehead compared to like the chin apex. I'm gonna just to establish some language that we're going to use. If you look at a curve, I'm gonna be calling like the turning most point on a curve and Apex. So if we look at this apex on her forehead and we take a vertical plumb line through it, I can see that her chin basically sets back a little bit from that apex on her forehead. So, in other words, her forehead is a little bit further forward than the chin. That's a really important one to take. Um, you'll find that that can easily get thrown off. So and then, from there, all kind of estimate at certain distance for the hair. In fact, what we could even do it will get the base 1/3 measurement, count through our thirds, and then just take a visual observation of sort of the proportion of what that top poor portion is. So it should be 3/4 the height of the hair should be 3/4 of our 1/3. So I'm gonna need to move this hairline down a little bit, and then I'm gonna have to adjust my estimate of this 1/3 measurement a little bit accordingly. And now let's check that. So basically, I'm doing an estimate first. Like if this is our hair Now, we divide this into three, and then we wiggle them around until they're actually equal. So one, 23 cities could move down a little bit, and I think her hairline is actually slightly slightly smaller, so this is actually gonna work the way I've got it. So I'm just using, like, dots and lines to begin with. And then next we're gonna take the base 1/3 measurement on the model and then turn it horizontally. From my view, I'm counting from the tip of the nose to let's see 12 I'm gonna do it to where the ear like inserts into the jaw. And that's actually about two to. So if the nose say, comes out to hear the jaws there. So basically the width of the tip of the nose to where the ear make meets the face is two of our base, 1/3 measurement. So now we've got a lot of information we've got and we can start to kind of make some sense out of this. You have got the bottom of the nose right here, and we can start to late erase stuff so that it doesn't get confusing. Then you've got our eye here, and we can start to kind of draw in some of the shapes. Um, let's take our base 1/3 measurement toe measure the width at the hairline. So basically, at the brow level, it looks like the hair to the tip of the forehead is actually one of our base 1/3 measurements. And so, as I started to fill in like some of the details, what we can do is we can start to measure angles, actually, which is the other kind of measurement that will be using so with this. And I'll show you one on one at your easels, too. But you'll take your brush close one eye and then till the brush. So it's running alongside the angle that you're measuring so visually for me right now, this is running alongside the angle of the hair, and then I'll take this other brush and put it on the canvas where I know the hair goes. And then I'll take this brush, which hopefully has paint on it and trace the angle on. So at this stage will start to kind of measure the angles that are making up the curves. So actually simplifying curves like into a series of angles to really, like anchor their structure, skin, even the head. Do you guys see how the head doesn't just feel like a big circle? There is a certain sloping angle to this top curve of the head. Do you see that? So it's kind of like a curving angle, and then there's kind of actually another angle back here. And then there's another angle right here so you can just measure through all of the angles . Um, we also want to find how long her neck is. Sometimes we can get really accurate in the face, and then it's difficult to get some of the extraneous details like the next. So let's take our base 1/3 measurement and use that to count the length of the neck from the chin to wherever it goes on the neck and in this case, basically the neck inserts into the collarbone just above our base. 1/3 measurement. And yeah, and so the caller itself is a little lower than the 1/3 measurement again with the caller. Actually, before we get into the collar, let's take some more vertical plumb lines. Um, on the collar. Do you guys see how the curve that makes up the collar looks like a series of angles? So let's take a vertical plumb line to Thies to a Texas and see how it relates to the features of the face to make sure that we've got the vertical alignment of that. Correct. So when I do that, I can see that it basically goes to about there. So so that works. I'm basically comparing where it's running through in the face to know where positions below the face. I should also get a bit of an ear blocked in. Let's take the horizontal plumb line through the top of the ear, which is just below the eye, and then the height of the ear is one of our base 1/3 measurements so that will give us the bottom of the year. And then the ear sits at an angle on the head. It doesn't just sit straight up and down. It sits at a bit of an angle through one to capture that. Yeah, and then also like, looking at shape. So if I squint and I kind of like look at the shape that's being made between the hair and the neck, you know, I can see a certain triangular geometric shapes there. So using all the tools that we have to kind of assess what we're looking at is gonna be beneficial. Um, again, with this collar weaken like measure through the curves, anchoring it in by measuring the angles that make it up, especially in this area, see how it like, wraps around like this. So that's just a nice articulation. I also want to see where, like this other shoulder is occurring compared to her face. And the apex of this shoulder seems to start right below this insertion point. So it's almost like you can get a cross hairs and then extend the angle out from there. The next comes out of the collarbone, not straight up and down, but at a certain angle. Yeah, and so that basically shows you how we're gonna get started. So I'm gonna have you guys take your paintings up to this stage, and then we'll map in the shadow patterning after that. So now that we've got, like, the basic, like placement and proportions, we're going to start to map in the shadows. And since we've got one like, really strong light on the model, you can really clearly see the shadow patterning. So I'm gonna use some burnt number and basically squint and draw in the patterning of the shadows, looking at the angles. And then I'm gonna just fill it in and definitely using someone Alligood medium so that it's dry tomorrow and it's not too thick, so that, too, will help it be drive for tomorrow. And like, the tricky thing with the shadows is that will often see, like variation inside the shadows like the ear, for example, and like pick up on that and want to make it to light. So we'll start by, like, really filling in the hole, shadow everything and then restate the line of the year. The line of the hairline on top of that. So right from the start were Lake really, definitely getting everything in the shadows, into the shadows through the temple. You can kind of carry it through, so the hair has a shadow pattern as well. So do you guys see how there's, like a little bit of light on the hair through here? So sometimes it's like a little bit more difficult to pick up where the light side in the hair is occurring. Actually, I could have a bigger brush. I didn't bring one today, but if you have a bigger brush, it would make sense to use a bigger brush to fill in a large space. Yeah, and on the neck it looks like, um, basically everything from the chin. Do you see the little bit of light, like on the underside of the chin? That's actually reflected light, so it's actually light bouncing up from the chest into the chin. But it's still part of the shadows, so we're gonna fill it in as part of the shadows to begin with. So that way, when we go in with the reflected light later, it'll, um, it'll set back. We won't do it too strong. Yeah, so just, like, thoroughly fill in everything in the shadows, make sure there's like a continuation all the way through the right hand side. So on the body to we've got, like, shadow pattern wrapping through the shoulder and the back so it, like, continues all the way through, through the hair, through the shoulder, through the clothing, onto the face. Everything. And so once you've got that filled in, um to about this tone like it's not too late, it's not too dark. But it's dark enough that it holds up like we can see it. It's definitely a shadow. So then I'll use more peer oil paint with less oil mixed in and sort of restate. Um, the positioning of things. So squinting again looking you consort of restate like the brow restate the hairline looking, maybe more precisely at the actual articulation. You know the angles that make up each element with the mouth. The upper lip is in shadow. The upper lip goes in shadow down to the center line between the mouth and then the lower lip is actually in light. And then the definition of the lower lip comes from the shadow underneath the lower lip, and there is a certain angle that's created. And before you guys get started, we'll go over some handouts to that, discuss the features. But basically, I'm gonna carve out the angle that the upper lips it's at and then the lower lip sits at a certain angle like this, and then it cuts in at a certain angle. But shouldn't is made up of a series of angles, and I'm looking at the shadow patterns that are describing the forms. There's a form shadow on the whole bottom plane of the nose, and then the whole side plane of the nose also has a form shadow, and I'll take my rag and just, like, shove my finger into it. Teoh kind of carve out the shape of the front edge of the face, maybe going with more pure paint. So whenever I want to make like a darker line, I just use the pure paint without any oil mixed in taken angle measurement along the edge of that knows, just like narrow it down a little bit, Um, and then into the like, the brow kind of forms into the shadow in front of the I and then into the side plane of the nose shadow and the nostril on this side is all in shadow. So I'm kind of like getting the shadow patterning blocked in first and then stating some of the details on top of that, this the no sits half on and half off the face. So in other words, you can see that this line intersects the nose half way on that with the nose doesn't just sit at the edge of the okay, me and I'm gonna use my rag a lot to, like, clean up lines so that I know what I'm going with. Like the thickness of my rough notes can become confusing for which line I'm going with. Um, I would get a measurement of how far back that I the back corner of the eye sits. So I'm gonna get it. And then compared to the verticals of the face, and it basically is to the height of the center line of the lips. So my I could, like, creep back just a little bit. And yeah, we'll talk about the features. Um, we'll go over some handouts, but basically the line of the lash from a profile sits at an angle again. I'll just clean up a little bit so I can get some lines. And and then there's another angle that is creating the crease above the eyelid. And then you kind of pulled down into that to create the pupil and the iris. And then there's like a suggestion of the lower lid underneath that which anchors in to the back of the eye. He then, yeah, there's some angles making up the forehead. There's a prominent angle at the top of the forehead. There's also some like angles, constructing the hair structure and then with the ear. I kind of like now having a piece of hair partially overlapping the ear. Um, and then you'll want to get the low been and then this little triangle, which is like where the ear sits at the edge of the face. And then there's some angles here, just sort of using angles to construct the forms. I'm not going into the reflected light yet, so ignoring that little light at the underside of the chin. Yeah, so, looking at the eyebrows, too, there's like a couple angles that make up the brow Yeah, And so that basically gives me an under painting toe work with getting like the basic features blocked in and then mapping in the shadow and making sure that it, like, carries through into the hair and onto the body. Let's get a line for that arm to, and we can get that with a vertical plumb line right there. So that shows you how I would complete the under painting. And before you start your under painting, you could also take a look at the next video, which describes the construction of the features in more detail. 5. Portrait Profile: 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. 6. Portrait Profile: Color Mixing Lesson: So before we get started, let's take a look at some of the principles of color mixing. So there's basically three things you should be asking yourself as you assess color. What's the tone with the hue and saturation? So tone basically means the lightness or darkness of a color. So on this grayscale value range, with one being like white and nine being black. Where would you place the overall light side on this tonal scale? So not the lightest note, but the sort of overall light side there. What tone would you roughly say? Yeah. Yeah. I kind of think that's about what I would think too. It's like it's definitely not that that's too dark. I would say it's like listening into parent, you know, somewhere around there sort of is that what everyone was kinda feeling? And then there's Q, which is like red or orange or green. It's like the color of the color. And then there's saturation, which is like the intensity of the color. If it's like neutral and light gray or if it's like really saturated, like orange and like brown would be like a sort of D saturated orange. Does everyone understand what I mean when I say desaturated or saturated? Yeah. So with the flesh colored ball, like in terms of the color like the hue, what do you think is closest to what it is like the hue, what hue? I think so too Exactly. So we know that it's kind of a light to middle tone and I think it's like an orange color. So let's start with some orange. And there's three, are basically four ways to desaturated color. So it's not that saturated, right? Like you can see that first of all, this is too dark tonally, right? Does everyone agree that looks too dark compared to that? It looks too saturated to write like really vibrant, really intense, that doesn't look nearly as vibrant and intense. So the different ways to desaturated color, one is adding white, just adding white desaturated color. Titanium White has a cooling effect when it's mixed with other colors too. So, you know, when it's mixed with this warm orange, it's going to sort of D saturate it. So yeah, adding white desaturated, adding black D saturates, adding brown D saturates because Brown's already kind of a desaturated orange and also adding a color that's opposite the color on the color wheel desaturate. So if we look at this color wheel here, see you just spin it around. So there's an arrow going through here. So if we look at Orange and then across the color wheel from orange is blue. So if you mix like a little bit of blue in that'll desaturated as well. And that's the kind of reasoning behind this color here is we've got the flesh color, which we've premixed and then we've got a blue that's mixed up to a similar tone that's actually in this case slightly darker, but it's close. Maybe it would be better if it was the same tone when you mix it. And so if you add a little bit of this blue to our orange skin tone. Blue and orange are opposite each other on the color wheel. So it'll desaturate the skin tone for places where you see the color being too saturated. And I won't adjust the tone so it'll keep it the same tone. So in this case, right now, let's start by just adding white. And you can see how already it doesn't look as saturated, right? So what do you think? Does that, what about the tone of that compared to this? Do What do you think? Visit to light to dark. Yeah. I think it's too dark too. Does everyone agree that it looks too dark? So let's add some more white. And we're going for the overall like the body of the lights and not like the lightest light, but sort of an overall note just like we do when we're doing like a color block in. So what do you guys think about the tone of that? Yeah, I think that's pretty good too. Let's just start by putting some of this on here. But what do you guys think about the saturation of this? Do you think it's the right saturation? Do we need to desaturate it more? Yeah, I think just like the smallest amount. So I'm just going to mix a little bit of gray in basically. Basically I've got, I've actually created this little value scale here, which I'll talk about more in a second, but it's basically white with a teeny tiny bit of black. And I'm just mixing that in there. So for like an overall light side, I think that this is pretty good. And when we go into the lightest light, I think we'll be able to see better. So I'm just going to draw the basic shape of our sphere here. And actually I'm going to show you after we do it this time, I'm going to do it again a different time with completely different colors and it's going to look exactly the same. So yeah, good question. And no, we could definitely have used the blue and it would look exactly the same. And it's like you might just makes a little less blue compared to the very small amount of gray that I mixed because the blue might have a stronger desaturating power than the graded. But you'll know that as you're mixing it. Yeah. So yeah, part of the goal of this lesson is to show you that you don't need to memorize a recipe for each thing. We can mix the same color like five different ways. So it's pretty cool. So let's go now into the shadow side of the top peer. This sort of warmer shadows sign at the top that you see over here on the right. What do you guys think in terms of tone like on this value scale? Yeah. Like maybe like these two, you mean? Yeah, I think so. Yeah. And the other thing is always flip your eye back and forth between the two things. It'll help you see the jump and tone better. So that's important. So yeah, I think it's, you know, it's it's a good amount darker than the light. And in terms of the color, what kind of colors do you see that top right-hand shadow side as being and it's pretty neutral. When a color is pretty neutral, it can be hard to see like what color it is and you could interpret it in multiple ways. Definitely less white. It's still do you think it's still kind of a little bit in the orange range, it's just like darker and more desaturated. Yeah, that's what I think too. And so something, you know, maybe we could try something like this. So the transparent red oxide, burnt sienna, might be a place to start. This is obviously way too saturated, right? But the tone will. What do you guys think about the tone? Yeah, it's pretty good. Maybe it's a little dark but we'll see it's hard. It's just so saturated, it's hard to know what do you think of it right now. So if we were looking at sort of getting it to be about this color and it needs to be DCE or this tone and it needs to be desaturated. I've mixed this sort of value range here. I'm just going to take from some of the gray that's kind of in that middle area. Start by mixing it in. It might also be easier for us to see when we put it on the canvas. So when I put it on the canvas, now I can see more clearly that it looks too dark actually. To me, compare it to the right side when I'm squinting. And so I think you're right. I think the orange is going to be good. I think orange is lighter in tone anyways. And it's kinda staying in the orange range. So let's add some orange. Let's even add like a little bit of this lighter flesh color stuff just to lighten it a little bit more. And then it's like we make our best shot at it and then try it. The painting that's a good basic color lay in. And so let's go into the bottom and see how that affects things. So what do you guys think of this bottom plane? And the shadows reflect their environment. So since this is sitting on a gray pedestal, it's reflecting the pedestal. So what do you guys see in terms of the tone? What tone like if the light's was here, the darker shadows here. What do you think of that bottom plane on a sphere? The middle one, right? Yeah. It's kinda like it goes light, medium, dark. Right. And then what about the color of that bottom plane down here? Exactly. Sake. Would you say it's a kind of gray almost even possibly that purply gray purple, something like that. Yeah. So we can start with some of our base shadow color. We can make some gray into it. This is like a grayish thing mixing into a into a warmish thing. And we'll just see where that takes us and we know we need to make it a little lighter so I'll mix some white and feel like it looks a bit pinky agree? Or purply gray III leg, it doesn't look as bluey gray as the table, right when you flip your eye back and forth between this and the tabletop. So let's add I could, we could use either red, I'm just going to use some of this one that's a little more pinky purply. And then you can see it better when you put it into the painting so that looks too dark and too purply, not great enough. Let's take more gray. So I'll lighten it a little bit, wiggle along that line. The last thing I'm actually going to do is I'm going to bring a little bit of a mid-tone gray, which is quite cool. You can't even see it on this palette, but a little bit of a mid-tone gray. And I'm just going to wiggle it along this transition. A lot of the time where the light meets the shadow is slightly cooler. Along this what's called the transition. There's the table top and then with the cast shadow, the cast shadow is like. Darkest nearest to the object that's casting it. And it gets progressively lighter and softer as it moves away from the object. So that gives the sense of it's sitting like on the tabletop having it dark and sharper near the object that's casting it. Okay, so that's like a little sort of color study. And so now I wanted to just do this all again and sort of show you how we could mix something that looks exactly the same but with different colors. So this time, I actually went to last thing. Let's get the lighter lights in. And if you just mix white with a teeny bit of gray into your base flesh color. That gives you a nice color for the lightest light. So the lightest lights are light sources of fluorescent bulb and so it's cool. And that's pretty standard that the lights are, there'll be kinda cool. It's well, white would be okay because white cools the color anyways. But it's not Whitey yellow is what it's not. Yeah. So let's do this all again. So this time, so the first one we used orange and white and gray. And now this time let's try using burnt sienna, transparent red oxide. It's the same color, just called different things by different brands and white. So the burnt sienna transparent red oxide is it's like an, it's like a desaturated orange rate. And we made an orange and then desaturated it with gray before. And so now, yeah, looks basically the same. So maybe it could be a little lighter, actually, a little bit more white. The same. So when I critique, I don't say add more of this specific color. I say make it warmer, make it cooler because it's sort of making those adjustments based on what you see based on hue, saturation and tone. Yep. And so now let's mix this color on the upper right-hand side. And last time we did it with the transparent red oxide and a bit of gray and a bit of orange. And so this time, let's change it up and we'll use some red and some green. And so again, so red and green are opposite each other on the color wheel. And so we're going to create a warm, desaturated note, basically mixing some breeding green into the cadmium red light. And then we were lightening wit with our base flesh color last time. So we'll add a little base flesh color to lighten it a little bit. Still needs a bit more lightness. And also you can see how it's easier to be able to tell that it needs to be lighter as soon as you put a stroke on the canvas. So that's why you can yeah. Put a drop down and then Judge Z, you don't need to be like upset if you've put a stroke down and it looks it doesn't look right. You know, it's not like you've messed up. It's just that you've put a stroke down and now you're going to adjust it. And then moving to the bottom part, Let's use blue and orange. So we'll use some of this blue mixture, will use some of this as well. We'll use some orange and some white to desaturate. So we're making that kind of grayish color, grayish purplish. Let's mix a little bit of this green red stuff into it too. We wanted to get a little bit redder, so we'll mix this time I'm using a bit of the cad red. Last time we used the Alizarin permanent. And it just looks a bit too dark, so we'll add a bit more blue, bit more white. And this time for the shadow on the bottom, Let's use blue and brown mix together. Last time I just used white and gray. Get that darkest note in. Actually, let's use more black at the bottom of this one too. I wanted that one a little darker there. This looks a little too warm. I've added a bit more blue into that. And it gets lighter as it moves away from the object there. So that's a basic light color study and you can see how they both look really similar. And they're using totally different colors. And so let's get this light side in there. So I hope that helps you in understanding how to analyze color based on hue value and saturation. 7. Portrait Profile: Light Side Color Lay In: So we got our full pallets set up, and this is a full palette that gives you a full range. You can do anything with this palette s, so I basically have them organized in a way that makes sense to me. It's like moving through the warms into the cools and from the lights into the darks. And then I've got the premixed colors at the top. Um, and then, in terms of the colors, were going to be using three words to describe color today. So the first is Hugh, and that's like the color of the color, like orange or green or blue or whatever. And then there's also tone lightness or darkness of a color. So blue is like a dark tone and then, like yellow, is like a light valuer, a light tone and then the other one, which I think is really most useful for us, is the word saturation, which is like the intensity of the color. So lake, orange or yellow is a really saturated, intense color, whereas brown is like a sort of de saturated color, Um, and then sort of flesh Color is basically kind of like an orangey color but it's de saturated, so you'll hear me using that word a lot. So as we move Teoh, the um, blocking in the colors, we're going to start by blocking in the lights first. And basically I'm just going to start with some of my base flesh color, and I'll just start by putting a blob on the canvas. And then I'll analyze it based on those three words, the hue value in saturation. So what do you guys think about this color in terms of the hue, like the color of the color like, Is it the rate orangey ready? Yellowy nous? What adjustments, if any, could be made pretty close? I think so. Think it's pretty close to, I think, like, What do you guys think? I almost wonder if it needs the teeniest bit more red, but very subtly. What do you guys think? Maybe the slightest amount, And so that's kind of how it's done, so we don't necessarily expect to lake hit it exactly. We sort of put a blob on and then look and adjust. So now what do you guys think in terms of like the hugest the color of the color I think that's pretty good, too. And then what do you think in terms of the value or the tone? Lightness and darkness of that color? Yeah, it looks pretty good to me, too. And then what about the saturation? Like the intensity of the color, the is it too saturated with that two D sat treated. The neutrality of the ground really makes it look very, very saturated. I think you're right. I think that's something that is going to throw us off a little bit like it might appear more saturated than it will appear later when I get more of it blocked in. So Well, I kind of have to watch that. Yeah, So I'm not sure. So let's move more of it through the lights and see where it feels at that stage. So basically, we're just gonna move it. I'm not using any oil in the lights, but I'm not doing it too thick. But I'm not doing it to thin either. Um, I do like the lights to be applied thickly, but I also want us to be able to glaze tomorrow, so I don't want it to be so thick that it's not dry so I'm gonna mix a little of the blue mixture in and a little bit. I've got a little red lake right here. I just wanna dark in the tone slightly as we move to the undercut where that form turns in towards where the nose inserts, just darkening it a little bit. And so basically, it's gonna be lightest at the top are light. Source is coming down this way on the figure. So it'll be lightest of the top, and all of the lights are going to get progressively darker and progressively de saturated as we move down the face. So and then, yeah, as we move out into the nose, the little highlight on the nose we go back into the full lightness. Um because like, this form turns under here. But then it comes back out, and it's hitting the light here, and I'm basically crossing. I want to, like, cross over the lines almost just having it overshoot my lines a little bit, so that at the edges I'll get an interweaving of the background color into the color of the flesh so it can go through a slightly awkward phase. But what we don't want is to have an outline, like all the way around our painting that'll really flatten it out as they get into the tip of the nose. So the local color, which is like the actual color of the area, the local color of the nose, is a little bit pickier than the local color of, say, the forehead. So I'm just adding, like a little bit of my red into the color as a move, especially into the tip of the nose. It's subtle, but this making a little bit of an adjustment for that local color change. And also I'm going for the overall value of the lights, not the lake spent, like Not like the latest late, which you see right there. So that'll give room to, like, lighten into later when I get into adding the highlights so the highlights will stand out on top of this color. Um, and that's definitely something to really watch. I think Ah, lot of you may find at this stage there's a temptation to hit the lightest lights, but then you're painting a look like jockey and pasty, so we need to get the fleshy kind of color in first and then as the cheek rules down. So the cheek is darkening as it turns down that form, and it's darkening in a reddish kind of way again because of the local color of the cheek. And then, as we move into the muscles around the most, it too. It's like all of the lights are getting darker as we move down the face and it's getting cooler as it moves down the face, too. So I'm adding a little bit of blue. Maybe I'll just switch brushes here to something more smaller. Yeah, so I've just mixed a little bit of this blue flesh color into my base flesh color, maybe even a little bit more. Sometimes in this area, at this phase of the painting, it can look at it goes through it kind of actually strange looking fees just because the rest isn't rendered so it can look like a five oclock shadow or something. But it's not gonna look like that in the final, but we do when a lake set up this color and value change as moved down and then getting into the chin. The chin to is darker and also like a little bit redder. Yeah, and so I'm kind of pushing that sense of what's called Fall Off, which is that sense of it being later at the top and darker as we move down. So I'm kind of to my mind exaggerating that a bit, But when we get everything else in, it won't actually even look it look accurate. It won't look like too much. So for the lower lip, the lower lip is basically the same tone as our flesh. But it's just a little pink ears, so I'm gonna add more of the cadmium red to it. Just put that in. We're gonna leave the upper lips. I'm only doing the light side. You'll notice that I'm not touching anything in the shadows at this phase. That way, as we move forward, we're gonna preserve the sense of lighting that we've achieved in our under painting and maintain that. So next I'll go into the shoulder. The collarbone area. It looks to me like the local color of her chest is a little bit maybe just a little bit more tanned. So I'm using some burnt sienna. Yeah, and I'll mix that with some based flash color so its not too dark and the lights of the neck really start here. Like this stuff is all in shadow and we just get the light starting to pick up in here and in terms of the direction of the strokes, I'm applying it. Lake. So I initially applied this, um, this stroke in what's called going with the form where the shape of the stroke mirrors the shape of the edge. But in the final application that flattens it out a little bit. So I kind of want a wiggle across it afterwards so that the strokes air actually going across the form in the way that I let the stroke sort of sit and end up. So I was doing that as I applied this to. It would have been easy to just go with the form, but I was actually going through the effort toe wiggle it across the form, so we just want toe complete our light side, Lee, and let's get a light side in for the hair. Um, for that will use some of this place shadow color mixture that is the orange and blue mixture mixed with some base flesh color toe lighten it. The light side of the hair is pretty D sat treated, and what I really want is to get a nice, soft lost edge right here. Let's make even more lost later. I'll put in strokes like you know, that kind of show, like the texture of the hair and stuff, But, um, but as I lay in the color, I really don't want any edge. They're just seamless transition, exaggerating that it is a soft edge on the model. But push that even farther and make it even more soft. I think as the lights of the hair move back, it looks like a little bit warmer. So have mixed some burnt Sienna in. Maybe that's too much like in terms of the saturation of the color. Do you guys see how that looks too saturated? So I'll just mix a bit of this other shadow color mixture in that has some blue to just d saptari that a little looks better. Yeah, and the hair, I think, is gonna look a lot better when we start to go into the darks. But we're just going to sort of stay focused on the task at hand and get the lights blocked in and then there's the shirt. The shirt is like white moving to blue in some areas. So whenever I do the lights, which is really what we're focusing on right now, I don't mix too much oil into the pain. So when we do, the shadows will mix more of the oil into the paints. It will be more transparent, but the lights will be thicker and more opaque, but hopefully dry for tomorrow. So as the light shirt rolls towards the shadow edge, do you guys see how it looks? A little cooler like it's lighter on this side cause the lights coming this way. So it's later on this side and that it's darkening and cooling as it rounds towards us. I actually didn't put a little shadow in here, but there could be some shadow. Put that in when I get into the shadows. And really the lights have, like the slightest warm sort of feeling on the shirt for, like, really light areas like white. I do like to really build up the lates like really thick and Pasto, Um, so we won't be glazing this. It won't be dry for tomorrow, but it does look nice to have them really built up. So you get kind of a sculptural effect in the quality of paint application where the lights are coming forward because they're really thick and the shadows air setting back because they're going to be applied with transparent layers will probably be glazing mawr into the shadows. So that will work well. And I'm still like making sure that my brush strokes and across the form, so I'm kind of wiggling it across the form as I apply it. Let's just fill it been, Yeah, and then I think you concerned. Do it like there's a lot of range to do something that you want with the background. I know a lot of artists would gasp and be like what? You can't change the background at all that changes all of the relationships and in a more traditional approach, I understand what they're talking about. But for me, I like to play with the background. You could add, like you know, a narrative with the background. You could add sky and clouds. You could add like wallpaper. You know you can really like, kind of add to the concept with the background and play with the colors. It might adjust the reflected light in the shadows, and we'll talk about that would get to the shadows. But you have for me. I'm thinking, I want to try out a kind of whole bind esque, brilliant blue background, and so I'm kind of liking that color. I won't have you guys stand there and watch me feel this whole thing, and it's gonna take a long time. I'll do that at break. But, um, I'm gonna go with that background color and just fill fill it in through, so that kind of shows you how we're gonna apply the lights. Um, I'll have you guys do that next, and then we'll go into the shadows after that. 8. Portrait Profile: Shadow Side Color Lay In: right. So we've got, like, the lights blocked in, and we've got a background color in, and now I'm going to start to go into the shadows and I'm gonna use this base. I call it the base shadow color mixture, which is made with some cadmium orange, and some ultra marine blue and different brands will make a different mixture. I think some of you have a more yellowish greenish kind of mixture. My brand, which is M. Graham didn't get it to be a Sgrena's. I wanted it to be. So I'm actually gonna green it up a little with some yellow and some meridian and then I'll just lighten it with a little bass flesh color. And I'm gonna use some oil for the shadow color mixture so that the shadows will be applied just a little bit more transparently. Then the lights and again, I'll just start by putting a note on and then judging it based on the three things so I can see some things to adjust with that. What do you guys think in terms of the color? But like the actual Hugh, is it like Yeah, Yeah, I think so, too. So maybe we could try, like, graying it down a little. I feel like it could be like a little bit more blue. I'm also picking up a bit of flesh color, maybe even a little bit lore, bluey and Brownie stuff. So what do you guys think of that for the temple area? Still a bit green rate. Maybe we'll mix more brown stuff into it. Yeah. So what now? What do you guys think about the huge is the color of the color from here. It still reads little green. It does. I agree. I'm wondering how it'll feel when we get some of the other red or notes in, but it might take some adjusting, but maybe we'll see as we get some other areas in and then maybe circle back. I like to have some cool notes. So as I move into the cheek, I'm mixing a little. Read a little bit more of this brownish stuff into this kind of greenish mixture. I often do like the shadows toe have a little bit of a coolness. It just gives, like some complex city and some richness, and so that everything's not warm, you know? So there's some variation I'm gonna lightly brush over the ear. And again, I'm kind of using, like, a rubbing sort of wiggle stroke as I bring it through. And I'm pulling it fairly thinly, like the late sir more thick and the shadows. Yeah, I'm pulling it so the painters pretty thin. It's, You know, it's fully on there like this full coverage, but it's not too physically thick, so any, like little dots of canvas texture. Like when that still showing that I know I don't have good enough coverage like I really want to get, like, decent coverage or add more oil and have it be more transparent, but not like a kind of dry brush e sort of effect. And I'm not going for all the variation like there is gonna be a darker under plane that I'll introduce at some point into the jaw area. But for now, I'm getting kind of an overall light side and overall shadow side that I can work with. It looks like the neck is a little bit later who not that much later. It's a little bit lighter than the shadows on the face, maybe a little bit greener towards the bottom, maybe a little bit read or towards the top. So there's some like variation and then the side plane of the nose, because the local color of the nose is a little bit pickier like ears and fingertips. And noses are always a little bit pink here, So the shadow color of the nose is a little bit pink here. I'll just get a smaller brush to get in there, and I want to have the paint like intermix. So again, I'm kind of like crossing over edges so that they mix one side into the other. So there's not like, Well, right now there is. But I don't want there to be, in the end, a little gap between the light side and shadow side. I wanna have, um, Intermix. But the thing is not to let them intermix in such a way that you lose the clarity, you know. So I'm letting it, like, mix like right here. Oh, introduce a slightly cooler. This is a slightly gray or color with a little wiggle stroke, where I just wiggle the brush a little bit side to side as I apply the paint. So that's called a wiggle stroke, and so it's creating a soft edge to the transition. But it's not so soft that we're losing the clarity of the light side, shadow side transition. So that's really like the balance that you're looking for is having the clarity like there is a fairly sudden transition from lights to shadows, but there's also a softness to it. But what I definitely find people dio is like want to soften this out and soften it so much that there's no light side shadows? I pattern anymore, So that's the most important thing to watch. It would be like preferable to have to sudden of a jump from late side to shadow, to have toe having it be so blended that the transition is just way too subtle. As we move into this part, I see like a burnt sienna is shadowing here and again, I'm just wiggle stroking at the place where the lights and the shadows meat, but just a little wiggle. Not a big one, so that it's got a soft edge, but it still has a pretty sudden, you know, distinct transition from late to shadow. It looks like it gets a little cooler right in front of the eye. So I'm introducing a little bit of a Bluey Grey. You stuff there. Then we've got the shadow. It's almost always a cool shadow underneath the lower lip, kind of a greenish shadow, and there's lots of muscles in and around this area that are creating some shadow patterns . Um, and I think those are nice to capture, but in a really s'more, subtle way than sometimes our I as artists goes to an area like this and really fixates on it and almost over renders it but instead to capture it, but in a subtle, understated way, will look best. And then with the I make sure your paintings, like thoroughly dry your under painting and mine is, And then I would take like a this act. It could have been done in the light side blocking, but I forgot. But we'll use some based flesh color, a little bit of a cool mixture, a little bit of some darker, warmer stuff. Take the excess lake off your brush so it's just a thin amount on your brush and just lightly. Let's make it a little warmer. Just lightly brush that through right on top of your eye. So we're really, like eliminating the possibility of having lines on our final painting like lines, which would really look, um, kind of amateur. And if you want to find your line afterwards, as long as you're under painting was dry. You can even just lightly wipe, so I can still see where my eye is. It's just happening within the context of tones and hues that are more appropriate for this phase of the painting. And then we can get into the upper lip. The upper lip is in shadow, so it's darker and warmer, kind of a purple e reddish sort of color. So have used some Eliza Aaron and a little bit of this cool blue and black. And I want this to have a soft edge to the lips. Except for the center line between the limps, the lips should have a really soft edge. So as I'm applying it, I'm doing a little wiggle stroke so that it goes on like soft as it's applied. And let's give a little darker, Um, lower plane to the lower limbs, lower lip, and actually let's kind of cut over the lower lip when I did the background. So let's just go back onto that lower lip, Yeah, and then with the ear. So I first covered over the ear with the shadow color mixture. There's like such a strong tendency to make the ear too bright and too rendered. And so to avoid that right from the start, I just mass it in with the shadow color. And then next I'll just restate the lines of the ear with some reddish brownish notes and just give a little bit more. Actually, my ears a little too low. So let's go ahead and move it up while we're at it. So you can make adjustments to your drawing in this color lay in phase as necessary and then for the hair will go into the shadow side of the hair. I like this Graner brush, which is what I've been using for, like most of the the color Lee. And it's got some longhairs in some short hairs, and it makes like if I do it on the palate like really nice lining kind of strokes, or you could really push it and wiggle it, and it fills it in strong and thoroughly so I'm gonna use some burnt Sienna and some black . There's also leg a certain coolness. Let's just pick up some of this blue going to use a lot of oil, so the paint flows fluidly and at the back of the head it's really dark, probably like blackish as it really rules into the shadow. And I'm using, like, long, fluid strokes. And then as we move forward, we see a little bit lighter notes. I'm doing it really transparent and really keeping this edge where the hair meets the, um, face super soft. So it's almost like you're gonna one of soften it and then soften it again and then soften it one more time. It's almost never soft enough. It's like a totally lost edge right where that hair meets the face. And even if it's not a soft in real life, you could make it even softer and it look better. Yeah, so this is a pretty late, complex color. There's like some blues and blacks, some browns all mixed into this hair color. I actually find blond hair to be like one of the most difficult colors of hair to paint. It's just really complex but it looks really nice. Um, yeah, as as we get it, it's just not not one color. Black hair is pretty easy to paint, and then there is, like a later strand. Let's just pick up some of the based flesh color and maybe add a little yellow okra to it, but making sure to keep it pretty dark. This light that's right here. There's a hair in my painting. Isn't that light like this lock of hair right here? It's still part of the shadows. Can I just need to pull the shadow in here? And so you can see I'm really like criss crossing over edges. I'm not being super precise about edges, and I'm gonna put that show on her. So let's bring it's gonna mix into my white. But I think that will just give us a light side shadow side to the show. So at the end of this stage, you'll have ah light side and the shadow side blocked in for every element of the paintings . So we've got even light side shadow, side to the background, have got it in the hair we've got in the face, you know, everything has a light side and a shadow side. Yeah, I like this show. Although I wish I didn't put so much thick white underwear, it's gonna be there. So that basically shows you how I would block in the shadows for so you guys can complete your lights first and then block in the shadows. I think some of you have your lights completed. If you have your lights completed, you could move to the shadows and, yeah, just remember to keep the lights really separate from the shadows. 9. Portrait Profile: Big Form Modeling: So we've completed our color lay in, and now we're moving too big for modelling, which is where will establish the form like the egg shape of the head, the cylinder of the neck. And like the big forms before we really start to go in and carve out the different planes of the features the smallest forms that fit on those larger forms. So I'm gonna start by lightning inside the middle of some of the forms, and the later notes are like a little bit cooler. So titanium white has a cooling effect when it's mixed with other colors. So I'm basically just gonna bring ah lighter note like through the center of some of the forms, thinking a little bit about planes like the top plane, the lights coming down. So the top plane is a little later in most yeah, the the top planes air all a little later than the front planes. And with the hair, I'll use some brown and some white and again, just like titanium white itself. Do you see that? Like it cools the color? Um, it just like cools as soon as you add titanium white. So I want the lighter notes to get, like, a little bit more cool. So that really works for us to just kind of add some titanium white. And I'm basically starting lake with the later note in the middle of the lights and then pulling with airplane strokes outwards so that it kind of blends as it moves out. So an airplane stroke is like I load my brush fully with the color, and then I start on the canvas where the color is fully there and then I like, lift and pull. So if I demonstrate on here, I'm like, lifting and pulling, so it gives like a kind of blended edge. Basically. So the goal of this phase is to get yeah, the big forms established, so that means like lightning in the center of the form and also darkening towards the edge . So, with the floor head, for example, I'm gonna kind of clean my brush off, get all this laid off. I can actually just like allow a bit of this background color to mix in at the edge, and that's gonna darken and cool the color as it rounds towards that edge. It also means like having the form of the lights start to darken as they head towards the shadow side, so it looks like in the forehead. It's like moving towards a cooler kind of note. And keep in mind as you're watching the video online course that I'm painting from life so you can see the colors more vividly from life. And so you might like to apply some of the colors that you see me painting with as you work from photo reference and then the cheek. It's like moving towards a warmer dark. The note, since it could be darker and it could be darker still, and it could be darker still, and then the front of the most like the form of the mouth, has a little bit of a later, later front plane. I think I can do Arkan and cool some of these notes a little bit, and there's also like the whole form of the hair itself, which could be, um, darkened towards the edges. So you some brown and some black. This will really establish the egg shape of the head again. I'm using airplanes strokes where I start up the outer perimeter, where the color is fully there and then I like lifting and pulling as they moved inwards so that it creates have blending at the edge of the form. We're at the edge of the brush stroke and then they results. So a lot of the time right along the transition between the light and the shadow is actually where the darkest passage occurs. So I'm just going to darken a little bit along that band, which in some schools is called like the Terminator. Sometimes it's just the transition. Different schools have, like different words for it, - and also, I think, in terms of the likeness, her upper lip. I've done the upper lip just a little bit too, too much height. So I'm just gonna cut down on the height, was it? And let's get that most important ever form shadow on the bottom of the nose. And we've just got a small cast shadow being cast onto the face behind the nostril with a bit of a Kulish note. So I'm basically setting it up, um, for rendering the features and putting the smaller forms on, um next just getting the bigger figure shapes and then also rate along this area like where the lights on the shadow side is meeting the hair. There's really like a subtlety to it. And I actually wanna have thes forms like dark and more as it like heads back there. So that transition is like pretty soft and gradual. And there's a little bit more of, ah, darker transition along here as well, so that it's also darkening, like up to behind the hair in here. And so sometimes I'll put something on, and then you can kind of brush lately across it to sort of blend it all together. So that basically shows you the big for modeling, just like establishing the bigger shape of the head, the egg of the head darkening towards the edges, lightning in the center of forms, and we'll start to restate the features next. 10. Portrait Profile: Restating the Features: Okay, so I'm going to start by restating the features. And what I mean by that is basically just giving a more clear, like, linear description just to guide myself as I start to construct the features a little later on. So I'm just gonna use, like, a brown just keep it simple. And, um, we've gone over the handouts and so I'm just gonna basically restate just with the linear description. In other words, basically an outline where the features are going. And that's just gonna guide me as we move to describing the planes of the features, cause, you know, I'll just know exactly where they go. So it's kind of just like putting an outline on top of our, you know, big for modeling. Just to describe where everything goes. I will actually shift to a little bit more of a warm note for the nostril just because what I put right now is probably gonna be what remains for the nostril. So for the nostril, we're doing two angled straight lines, not like a big circle. And then just a little line I'm using, like a brown with some a lizard in it. Say then, yet the two angled straight lines for the nostril description and then kind of, ah, curving angle to describe the back wing of the nose. And then I just I'll take the excess off my brush and then I'll just kind of like, pull soften out the edge of the bottom of that note to just, um, kind of create the opening of the nostril hole. Yeah, and then for the here, I'm going to use the same color, the same warm color. It's like Brown with some Eliza in permanent added, And I'm just gonna kind of restate the lines of the ears. So there's kind of some angles that are describing. The ear will go over the ear handout soon, but I'm kind of describing the outer rim of the ear. It was like a ring that goes around you, and then I'm gonna use like a dark kind of Blackie brown. So we've got the point where the ear anchors onto the face at the basically jaw line edge. And then there's also this anchoring point of the lobe, the bottom of the ear. Just wanna like describe that and so, remembering that the lobe is narrower than the top of the ear. So a lot of the time people will do like this big evenly, you know, the ear being as Wyatt the top is it is at the bottom. Um, you know, that will make it look kind of lake. I don't know Ernie from Sesame Street, so making sure that it tapers towards the bottom is key. And then, from there, that anchoring in spot, then kind of curves and comes up and kind of bends around and heads towards what will describe as this kind of curving. Why shape which I'll show you more when we look at the handouts and in terms of the proportion of the ear, we've got 1/3 for the bottom of the ear, 1/3 for this kind of whole part. It's like a a slight hole. The rial deep hole is very small, like inside the year and then 1/3 for the top portion of the year. And I'll use the same kind of warm brown with some Eliza and permanent to just restate the center crease of the lips. So that basically shows restating the lines of the features. And next, I'm going to do a little demo just about glazing 11. Portrait Profile: Ear Handout: 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 established the overall shape of the ear, really noticing that it's wider at the top and narrower at the bottom. And then, in Step two were starting to develop the little rim around the odor top portion of the ear , which 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 notch this little triangular flap, which is basically where the ear anchors onto the face. Just putting that on and the next we start to extend that and extend this down. Step six, we start to put in the Contra the sort of hollowed out central area of the ear, and then, in Step six, we put in this little did it at the top. So basically this here is like a curving why, 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 here, we've got 1/3 at the top than this hollowed out central area is another 1/3 vertically. And then we've got the bottom part, the lobe as another 1/3. 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 contra, which is that holiday out central area. We've got the anterior Nagy, which is that little flap of skin that connects basically onto the jaw, just anchoring the ear onto the face. And then you've got the lobe and the inter tragic nacho, just sort of this curving shape that connects that flat to the central hollowed part. And then we also have the anti helix, which is that curving? Why 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 3/4 head, so this would be like our 3/4 of rotation view of the year. 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 with nice and narrow, especially narrower, towards the back portion of a little wider at the front as it comes towards us to show the foreshortening again. We've got that anterior notch, which is thief lap that really angers the year onto the face and then the lobe of the ear, remembering that the top of the ear is wider than the lobe and you've got the thirds in terms of the proportions and that curving Why shape that wraps itself around the concept. The holiday central part in the like whole of the ear is smaller 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. Why shape get that interior notch anchored onto the jaw and the low being narrower than the top, and it looks really nice to carve out the ear with sort of angles. So it really helps, like, avoid like a big Muppet here, 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 there were at the bottom. So the ear sticks out a bit more from the top than the bottom of the ear from the back view of the head. And then you can carve up the helix again, keeping it narrower in the back and having it. Wyden has. It comes towards us towards, you know, are back view of the ear. And then we've just got, like, a little sliver of an indication of that curving. Why she very subtle little sliver of the indication of the contra and the even the back. It's like we're looking at the side of the of the ear, so we're seeing like the the side playing the thickness of the ear and then just a little bit of the front plane of the lobe and at the total back view, the helix starts to kind of curve into this s sheep and we're just seeing. And it's a little thicker at the top, a little thinner at the bottom. And then we've got that flap of skin that anchors the year onto the head in terms of the proportions of the ear we've got. Basically, this is our base 1/3 measurement. So from the bottom of the chin to the bottom of the news bottom the nose, eyebrow, eyebrow to hairline that they're all three equal thirds on the face and the ear is equal tore 1/3 measurement. So if the head is just in a neutral position facing forward, no tilt down, no till 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 year sets at an angle on the face. That's the same as the angle on the job. So I hope that helps you with the construction of the ear. I think that understanding the proportions and the anatomy of the ear will really help you as you create your own. Your portrayals 12. Portrait Profile: Glazing: glazing is a really wonderful technique that you've probably all heard of and some of you may be familiar with or some of you may even be intimidated by. Sometimes it's made to sound like this magical, mystical like experience that's really difficult, but it's actually really easy to do and really fun in terms of the medium. I'll be using gamblin solvent free gel. So basically glazing entails just mixing a little bit of pigments into, like, a lot of medium so that you create a transparent coat so you can see, like with the jail that it's, um, basically gonna hold its position. Whereas when I use the woman Alcon medium, which is totally something you can definitely do and I do a lot, but it does, you know it's it can drip a little bit or when you're using so much medium compared to such a little amounts of pigment or also on really dry. So you've got, like, really thickly painted like and past two areas that are like thoroughly dry, you'll sometimes find that the glaze doesn't really stick that well. I don't know if any of you have encountered that before, but if you keep playing around at this, you will eventually find that right now these aren't totally dry, so it won't happen today. But if I was to let this like thoroughly dry, it might actually have a bit of a repelling effect if I was tickling is on this with the walnut Alcon medium. Sometimes I'll use sandpaper to open up the pores of the paint just a little bit so that the glaze would hold better. But that's really like the main reason that I'm obsessed with this new medium actually is because it will stick to all of those areas and it'll hold its position. So it's just like really wonderful and then depending on, like the paint that you use, like the color of the paint. Some paints really lend themselves more to glazes than others, So this right here is cadmium red and inherently. It's a little bit of an opaque color, but you can see when you mix like so much medium into it that it does get to be transparent . Um, but if you were to use a color like a lizard permanent, which is like inherently a transparent color anyways, it's naturally even more transparent. Um, And also, that's why I like certain brands of paint for certain colors, like the transparent red oxide Well, the burnt sienna color in Windsor Newton brand. This is without meeting. You can see how it's already transparent, and so it really lends itself to glazing because the color itself is already transparent. So that's the winds or Newton brand of burnt Sienna. Um, and also the ultra Marine and certain brands like the Windsor Newton brand is also a really transparent color. But it could be more opaque and in different brands. Um, yeah, so So there's basically true glazes, which are these really transparent ones, and they don't have any, like white mixed in. And then there's also semi transparent glazes. So as we move to really like defining the features, a lot of the time will use semi transparent glazes where there's some white mixed in, and it's not completely transparent, but it still is allowing a bit of the under layer to glow through. So if I was to, I'm just gonna actually do a little demo on her lips to show how the glaze would work. I'm just gonna make sure my brushes like really clean. Yeah, so let's use like a pinky red. And I'm sure there's still some brown on my brush. What's going on? Okay. And then, like a lot of medium, and I'm just going to pretend that her lips have lipstick on it. And so you can basically apply a transparent glaze over the whole lip area, and you can see how it retains all of the rendering that you've done like that still glows through, so you don't have to repaint the whole thing. Essentially. Instead, you can just adjust the local color. I still have some adjustments to make to the shape of these lips, but this is just too demonstrate, so it allows you to, like adjust the color without having to repaint everything. So say you came to your painting today and you looked at your painting of the whole thing looks like pasty and white like pinky and pasty. One thing you could do is take like a yellow Oakar and do like a really thin, thin glaze and even just bring that like through a lot of the lates and just give a little bit more richness to it right across the board before you really start to go into painting it today. So it's important that a glaze is always done on a surface, like on a painting that's thoroughly dry. This and if your paintings wet and you go to glaze on it, of course, you'll just move everything everywhere and it will be, Yeah, disappointing. So as long as you're painting is thoroughly dry, you could like glaze on top of it and retain all of the work that you did in the under layer and have all that form rendering glow through. But be able to adjust the local color, and you'll find that the color, like of the glaze shows up the most in the lights. But it'll still add like a certain, um, richness and complexity to the shadow set. Yeah, so so a lot of the time I like to have the lights like built up in the shadows, done with Siris of glazes like nice and transparent. So the I basically will lake catch on the lights and that will come forward, and then it'll set back through all the layers of glazing in the shadows, and that'll push back which will really give a sculptural effect to your painting, so I'm just gonna make sure, yes. Oh, my shadows are dry, so it's a good place to glaze into them. And so, for example, if we were to go into the reflected light under her chin, that is a good place to do a glaze. Um, and this will be a semitransparent, please, cause I'm using a bit of the base flash color, so there's a bit of white mixed in, so it's not super transparent, but it's somewhat transparent, and so it just makes subtle adjustments very subtle. You always want the reflected light to be extremely subtle. There's a tendency to exaggerate reflected light and make it too strong and have it so light that it competes with the light side. So as I'm putting the reflected light in, I'm just keeping it like, really subtle, really understated. There's also, like some areas of a little bit more richness to the color, just like complex city in the cheek area. So I'm just glazing in with a bit of ah, warm color into that. I think there's also a bit of a stronger, very subtle again. Everything in the shadows is like pretty subtle. So the tonal variation in the shadows is less than the total variation. The lights. Um so as I do, I just glaze in this subtle definition of the jaw. I'm just keeping it very subtle, doing it with glazing. And that kind of shows how you could make, like refinements to the tone and to the colors with Sami transparent glazes. And it's especially effective in the shadows. It looks really nice in the shadows and in the hair. Um, yeah. Even in this area here, there's some subtle patterns. Um, with hair to the hair is a great place for glazing because the hair, the strokes of the values, actually a bit of the gambling solvent free gel and a bit of picked up some white. A bit of the, um let's get that weight off my brush. A bit of the wallet Alcon medium. So the I'm stroke will flow more fluidly, and I'm going to start by actually glazing through the lights to darken them down so that then I can glaze. Ah, highlight on top of it, and it will have something to stand out on. So this is a very transparent coat glazing can also like unify, you know, the stroke. So if there's a lot of strokes and they feel really disjointed, it can help, like bring a certain unity to all of them, just darkening the lights a little bit and lightning the darks a little bit and making it just all tonally a little bit closer together. So I'm kind of like setting some of these later notes back. Just a touch before I go into some of the strokes of the hair. Yeah, and a lot of the time, the darkest darks I'll definitely do with glazes. It always looks really good if the darkest darks are slightly transparent. So now I'm just glazing in with the darkest darks, adding a little bit more hair texture. Everything's flowing really fluidly because I've already pulled, Um, you know, it's wet. The surface is where I've already pulled a coat of the gambling solvent free gel. And while the Ellicott medium through my painting in the hair, I think there's a bit of refinement that can be done to this hair edge and yet again glazing that helps keep the hairline like really soft. And sometimes they'll even rub it with my finger. Really? Make sure that the hairline stays like super soft. I think I would like to dark and some of these lights down first so that I can then put a couple highlights on top. But have them stand out on top of a darker base that I'll just glaze on. And then for the highlight of the hair, do you guys see, like, the cool highlight, the sort of shiny highlight weaving through up here on her? Yeah, So that one will be done with a pretty cool note. And, um, now that I've kind of dark and some of this stuff around their it'll stand out better. So I'm gonna use white and a little bit of gray, Not her hair is not at all great, but it's just a cool note. And I think blue would be too cool. So yeah, and then some medium and then all kind of zigzag with a kind of maybe, let's make it a little later, Um, with a certain touch, that'll be a varied, like, sort of wiggle sort of zig zag, sometimes pulling with the width of this line e brush that makes lines just making it kind of varied. And then some of it back here feels a little too heavy handed. Seiken Just glaze, maybe a little brown on top of this. So this is definitely a semi transparent glaze, cause there's white mixed in. And then, for that, a lock of hair over here that's catching a little bit of light. It's almost It's still mostly in the shadows, though. I'm using a really de saturated yellow car with, like a bunch of brown, some black and gray, just keeping it like it's not yellow, but it's ever so slightly Oh, yellow, and I'll just give a little suggestion of that. Let's get a bit more medium on my brush. And as I do that, I'll use the brush so that it's like widthwise first, and then I'll twist it so that it gets to be a line by the end. So it makes a nice sort of twisting stroke the way that hair sort of forms locks and twists and wines. So that gives you an idea of how you can use glazing in the portrait as you start to move to the refinements 13. Portrait Profile: Describing the Features: we're moving to describing the features, so we're basically describing the smaller forms that set onto the bigger form that we've established in the Big Four modeling phase. So I'm going to start with the eye. And basically, as we're describing the smaller forms, we're gonna be analyzing them to look for three planes for each of the smaller form. So there is often like a top plane aside, plain and another side plane. So actually, I just said I'd start with the I. But let's start with the forehead and let's get that top plane to the forehead. First, you guys see how there's like a slightly more saturated, slightly more orange is still pretty light top plane to the forehead like there's like a bend in the forehead, so we're going to get that top playing first. I'm going to use the back of my brush to scratch at the hairline to really make sure that it's like soft, which is so important. And then there's the front plane to the forehead, which I'm liking. It's already light, it looks good, and then we've got the side plane, which is cooler. So you're also looking for three temperatures in other words, like three kind of colors. So there is the more orangey top plane than theirs. The more Kulish right hand side plane. And then there's the slightly more neutral front plane. I'm gonna also, like work the transition between the front plane and the right hand side plane. Just a little bit, um, a lot of the time at the transition between the lights in the shadows, there's a band of a slightly cool, slightly bluish note. If you really want to see that in like masterworks Berks, I would look at Ruben's who you can really see that and it's always really beautiful. And that's something that all sometimes exaggerate. Like I do see it on her and it looks nice and a painting so sometimes exaggerate that coolness just a little bit. So as I described the I, even as I described like the upper eyelid we want in this case, there is basically like a front plane to the eyelid, which is later. And then there's a side plane to the eyelid, which is cooler and darker. It's not too cool. I'm adding a little brown so that it's, um not quite as it's not blue or anything, and then, as I really like, analyze it really kind of merges and meats with the shadow. I need to extend the shadow down into the eye so that the shadow on the side plane of the I meets the shadow at the side plane of the temple, and that's looking a little too cool. So it makes a bit more blue in. I mean brown, more brown in. I feel like the tone at the in the shadow side of this temple. Let's get a bigger brush. Could be just a little darker, so I'll just bring that in and then put in the line of the lashes, which is lake brownish black. I'll use a little oil so it flows fluidly as I do that, and that's basically where we see the strongest angle. It's a little bit more. I often, like rest my pinky on my painting to stabilize as I going for this and the line of the eyelash. The line of the upper eyelid crosses over the lower island, so I'm just extending it slightly beyond. I'm actually gonna scratch with the back of my brush so it's really soft and then from that line, I'll just extend forward. It just kind of curls and becomes the line of the lashes and then also pull down underneath that and connecting to that line the black line, which is the pupil when, then, as I go into the white of the eye, the white of the eye is its way darker than white, like its way darker than you'll think. It should be. The same tone, the same lightness and darkness as the skin around it, just a little bit cooler. So it's basically a gray, and it gets a little bit darker as it moves up towards the eyelashes. Because of that cast shadow that comes down on the I from the island and also depending on the direction of your light. In my case, it's getting darker as it wraps around to the right hand side to show the turn of the eyeball. And then the iris is brown. It's pretty dark. I'll just put that in again from the profile view the irises, um, a very thin oval and it to get starker as it moves up towards the line of the lashes. And then let's put in that really beautiful and important, A little light ledge of thickness. The describes the top plane of the lower eyelid. And then there's also like a front plane to the lower eyelid to kind of the vertical plane and towards the front of it, so still looking for three tones. Three planes, three tones breach form. The front of it is very subtle in light, and then the back of it towards the right is really dark, really setting into the shadow and that in front of the I threw some darker shadow patterns that describe the form, like of the nose sort of right behind the eye. And then it kind of merges into the brow. The browser, like, not too dark. As they move in, sort of through the lighter area of the brow, they look a little bit cooler. Maybe not that light, though, but you'll want to be describing three planes and three tones for the brow as well. So really like forcing yourself to, like analyze for color and tonal shifts across the turning of forms. And then, as the brow rounds into the shadow side, it looks a little darker and a little warmer and I think to with the I, we can go just a little bit darker on this side plane right there and then some of the forms on the cheek bone leg heading in towards the I just have a little bit more coolness so that it basically is a settler transition from the cheekbone into the top of the front facing plane of the lower eyelid. And this to make sense that it's cool because we're at that transition between light and shadow. And there's often that band of cool along that transition. We can bring a little bit more of the shadow patterning, Um, right in here forward just a little bit. So we're kind of is working slowly through forms analyzing the shapes of the shadows, and they're tones and relationships to each other. And then as I move into the nose, the shadows on the nose are a little bit pinky er, so I'll just makes a little bit more a lizard permanent into the mixture that I've been using. And that front facing plane of the nose is really narrow, really bony. Eso right now mines too wide, so I'm just gonna kind of eat in on it, making it even more narrow. And I would like it to be even a little pinky er the color that I'm using. Yeah, so it's just a very narrow, bony front plane. It gets softer, edged on a little bit wider in the lights towards the ball of the nose. And then there's some really subtle suggestion of the form of the wings of the knows. This is an area that's often overstated. In other words, put in way too strong, so keeping it subtle will serve you will and then with the nose. So we talked about how there's the form shadows, and there's the cast shadows and so cast shadows air often a little bit more cool. So just a little bit more blue. And so I've got the cash shadow from the nose coming down that's a bit too cool down onto the face. I'm just mixing a bit of brown into de saturate that note, and so that's coming out from behind, like the definition of the wing of the nose. So it's important after we get this in to now describe the wing of the nose being like within that, so it's like before that so that the nose doesn't look and, like, really wide. The nose ends here, and the cast shadow extends behind that. And then the form shadow of the nose is warmer. So amusing theologians Aerin permanent and a little cad red just mixed into some brown to keep it just a bit warmer than the cath shadow. And to restate one more time, that form shadow on the bottom plane of nose. Yeah, and a lot of the time. Like I said, the darkest part of the shadow is right along where the lights meet the shadow. So I just want to go a little darker rating here, too. This is a chicken. I think the trickiest part with the nose is keeping the nostril that's in the shadow. Really subtly defined. Yeah, to make that distinction. Yeah, yeah. Then going into the I one more time, like the forms around the eye are so important. And there's just a little bit more light catching on this form underneath the brow that I'm seeing and then moving into the mouth there is that, um, little separate the little divin in the front of the most, and so I want to get that. But that, too, is another place that's really commonly overstated. Like it's put in a really sharp edge, really light way too strong. So as I do it, I wanted to keep it subtle, and I'm gonna basically make it more subtle. I'll do it, settle and then I'll soften it to make it more subtle. And actually, this is such a small area that I'm just going to use the back of my brush to scratch and soften it and kind of mix it together a little bit. And then I'm going to do that on the top edge of the lip to just scratching, kind of like cross hatching with the back of my brush to make it more subtle. And then as I move into the side of the lip, there's a little adjustment that could be cut down. Just taking a little bit off the top edge of this form and the light carries down a little further, I think just sort of hopping around a bit. Looking at the nose. Aiken go one more time into the definition of the winning the back wing of the knows. That shows where the edge of the nose ends and shows where the form shadow separates from the cash shadow. And we'll just go into the darkest line of the nostril one more time as well, and then hopping back down to the lips. I think I'll just restate this color in the lips, making it a little bit less red and giving it. I'm doing a little wiggle as I apply it, so it's just really, really soft edge moving towards the back corner. You can see how, just like I talked to it on the handouts. As the color moves back on the lips towards the corner of the lips, it gets a little cooler. We don't see as much redness. It starts to just sort of be, ah form. And this is a yes likely cool form. And then the line of the lips has a lot of like the center line of the lips has read as it moves forward. And then I'll restate the shadow patterning underneath the lips with that form to Aiken, just cut up a little bit on the bottom edge of the lip, the lower lip, and I'm gonna go in with the highlight onto the lower lip. It's basically occurring with lower lip has a bend. And so the bending turning point on the lower lip is where we're catching the light and then the so looking at three planes for each form. The lower lip has a lighter pinker kind of peach. Here. Top plane. Let's scratch the back of this upper lip one more time to soften it out. And then, as the lower lip turns downwards, it's getting a little darker and actually the lower lip at the bottom. It has a a slightly later, but darker than the top of it front plane. So there's lots of little planes to describe so very small little movements a little bit. I don't see a little bit darker than the top plane, but lighter than the side plane. It's hard to get in there, actually, and then as it turns towards the side, it gets even darker. So as you describe, the forms of the features, just really like force yourself to be analyzing the direction that each plane faces and the temperature and the tonal shifts that are occurring along the way and say you're looking for three tones and three planes, each with a different temperature to describe 14. Profile Portrait: Highlights and Edge Quality: we're nearing the end and richness start to add the final highlights and really look at the edge quality, especially in the hair next. So the thing to consider as you're doing that is that the lightest lights are a little bit cool. So sometimes I see people adding yellow. Yep, adding like yellow to their latest light. And that would be a mistake. But just adding white into the base flesh color, especially if it's titanium white, is going to get you to where you want to be, because the titanium white has a cooling effect when it's mixed with colors. And so we've really, like, built up the transparency of the shadows and the hair, and what looks really nice is to build up now with someone pass toes some thickness into the latest light. So if you think of like RAM brand or something and how he would like have thick highlights and so as I do that, I basically I kind of push with my brush to pick up paint instead of instead of brushing to pick up paints. I'm like scooping, like, physically a lot of paint on my brush, and then I'm placing it actually, let's make it a little less light as I moved down the face and I want more pain. So yeah, I'm kind of like maneuvering it so that I scoop it with the brush. So there's, like, physically, a lot of put paint. And then I'm placing it in such a way on the canvas that it lake is thickest in the center of the brush stroke. And then I'll kind of take the excess paint off my brush and manipulate the edge of that brush strokes so that it's not got like a thick Reggie effect at the edge of the brush stroke. The thickness is really inside the middle of the stroke so that it kind of is thick in the center, and then it just fits into the forms of the face. And maybe I could even go into the center of this one with an even lighter, thicker note. And maybe that's this one is well, and on the nose Onley really like in the center, like I don't want it to be all white all over the whole front plane of the nose. But maybe I could try to very, very carefully place a little light in the center of where my note currently is. So there's a little bit of the more fleshy tone color on either side of the light, and I don't see much of the speculum highlight on the nose. Some of you will have an angle where you can see, like the dot like the shiny dot on the nose more clearly, but I see a little bit of it. Um, yeah, And then I think I could hot, like, lighten a little bit in the center of the light side of the eye. The upper eyelid. Thank you. Maybe a little bit at this point at the top of the mouth and just sort of working through different angles will have sometimes more highlights. I'm not seeing a ton of, like true highlights from my angle. I think you probably see more highlights coming from the other side. The other profile her and then kind of like assessing edge quality. So with the ear, I've like, drawn in the lines of the year, but I started one the ear to be like a little softer. I like the edges of the ear to be kind of soft, especially from a profile so that it doesn't become like a painting about an ear, because the ear is like the center practically of my painting. So I like to You can kind of control where the eye goes by having, um, sharp edges and the center of interest, where you want to draw attention and having softer edges where you don't want to draw attention. Yeah, I'm looking at like hair, and it gets edge quality, kind of softening out certain edges. So I think if I was to put even some of the hair that's overlapping the ear right now in, that might be kind of appealing. It's nice, like when working from life, because we have the opportunity to choose the most appealing. You know, we see lots of different positions of hair, lots of different positions of everything, and we get to sort of choose which one we capture based on what would work best for a painting and for our intentions. So, yeah, with the hair edge quality, I'm already like pretty happy with the edge quality of the hair throughout. But I think I could even go with a few more really hair like strokes kind of exaggerating the hair edge quality at the back, getting like a few more strands. Whether you see it or not, I think it'll look nice at the bottom for sure. I need, like, a bit better kind of edge quality with the hair. And I think I can achieve that by cutting both out with the hair and cutting old, so in on the hair with some of the shawl colors, so kind of working both ways on the edge. So maybe then, yeah, working back out now, bringing a couple of these little lighter strands onto the shoulder. Yeah, and actually, I also see the smallest, and I think this is the last thing I'll do. But the smallest hint of the eyebrow, just the subtle ist hint of it on the back five here, as well as the lashes of the back I poking through and a hint of the upper island. Yeah, so that it shows how, as you're going into the final touches, really like starting to add the highlights and then really looking at the edge quality and a lot of the times softening edges 15. Portrait Profile: Finishing Touches: So I'm moving into the very final touches and I'm back in the studio. I've been looking at it for a little while in my studio, and I was really inspired initially by this painting by whole bine. I love the color of the background, and I liked this weird, mysterious writing in the background that looks almost esoteric, but it looks like it actually just says the date and yeah, and so I'm not paying for the model anymore. The class is over, but I do have photographic reference, and I'm just gonna use that as well as my inspiration from this whole line painting to put the finishing touches on this painting. So let's start by just putting a little bit of the texture of the fringe pieces of her shawl in I'm using a, um, brush that has some longhairs and some short hairs. It's called a grain or brush, and it's really an illustrator's brush made for doing wood grain. That's why it's called a Graner brush, but it's really effective for hair and for Harry, things like this shawl. This here is 1/4 inch screener, whereas the other one was the 3/4 inch greener so you can get different widths. And I'm just getting that little fringe kind of texture. And I'm kind of trying toe twist the brush a bit as I go, so it creates a kind of twisting and twining, just like I would treat the hair kind of sense of the texture. And let's also go into the earing. I'll start with a gray so the middle tone color and just put the basic shape of the hearing in and then go in with some darks. It looks like it's a silver earring that has a certain tarnish to it, in part, so there's some my starker areas. Then it looks like there's kind of Ah, I'm sure what that IHS. Maybe I don't think it's turquoise. It's, uh, I don't know, like malachite or something, some kind of stone in the middle of the hearing that does have, like a turquoise kind of a color to it. So I'll put some of that, and I like how it actually relates to the color of the background. Do you like that? And then once I've got that built up, I can pull out certain highlights. Um, maybe not with a full on white kind of Ah, light gray. Yeah, I like that little touch. And I'm not going to go into a ton of detail with it, Just sort of a hint. And I think we'll end by putting the just some writing in the background. So if we look at whole binds painting looks like he's written an 0 15 32 or something ANO means year. I'm just gonna go for it and right and no get a little more oil, so it flows fluidly. Actually, I'm selecting which brush I want to use. I initially thought I wanted to use this little around and I'll keep it handy. But I'm also gonna use this very small bright brush which has a square tips top and I think will be even better for getting the lettering. So yeah, this is better. It gets a nice straight line, and I'm using yellow, ochre and white, so it kind of is like a gold ish kind of color. I might do it a little lightly first, and then once I'm sure it looks structured. Go back in a little darker. Well, with a little more opaque paint which actually makes it later. So, Anna, you're gonna shift to my little round for the O the break brushes. Square tipped topped ones aren't so good for doing. Um, rounded lettering an 0 2000 and 19. Think of this. Oh, could be a little vertically higher. It's trying to kind of imagine a certain height consistent throughout. So your 2000 and 19 just kind of dark and in just going to kind of bring a little bit more to some of these going back into it a bit and the month. But I taught this workshop was actually back in February. We'll just do 0203 February 3rd e. I don't like that too. Let's try that again from Just wipe it out. Maybe dip into a little oil to really erase it. I feel like with lettering and numbering, it needs to be pretty, Um pretty precise. Oh, three. There. Yeah, I really like how, for some reason, having that birding than the background just seems like some kind of esoteric message. So that basically shows you how to develop a painting from life, gaining inspiration from a master's work and putting the finishing touches on back in my own studio. I hope you've enjoyed this class, and I can't wait to see how your painting turns out.