Portrait Painting from a Photo with a Full Palette | Kristy Gordon | Skillshare

Portrait Painting from a Photo with a Full Palette

Kristy Gordon, New York Based Artist And Teacher

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15 Lessons (2h 31m)
    • 1. Introduction

      1:13
    • 2. Palette Set Up

      7:48
    • 3. Light Side Color Lay In

      1:48
    • 4. Light Side Color Lay In (Continued)

      13:59
    • 5. Shadow Side Color Lay In

      14:49
    • 6. Big Form Modeling

      10:36
    • 7. Features Handouts

      18:40
    • 8. Blocking in the Features

      15:12
    • 9. Essential Skills: Most Common Mistakes

      5:04
    • 10. Essential Skills: Glazing Lesson

      2:23
    • 11. Describing the Planes

      14:04
    • 12. Refining the Eyes

      9:58
    • 13. Refining the Eyes (continued)

      6:36
    • 14. Refining Nose & Mouth

      9:30
    • 15. Finishing Touches

      19:14
47 students are watching this class

About This Class

This class builds on my first one, "Portrait Painting from a Photo: Underpainting"  Having established a solid underpainting in the first class, you are ready to move into color using a full palette. 

We will utilize warm and cool lighting to achieve dynamic colors, giving a contemporary feeling to portraits painted with traditional techniques. You will learn how to achieve a better likeness as well as how to paint convincing flesh tones. Lessons cover the stages for developing a painting in color, structure of the face and features, as well as value, edges and modeling with color temperature.

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

Portrait Painting with a Full Palette

Glazing, Scumbling and Impasto Paint Application Techniques

Composition in Art

Transcripts

1. Introduction: way all have a natural affinity to the human face. And for a lot of artists, the idea of paying the portrait seems like the ultimate challenge in this class. I'm gonna break it down into steps that you can follow along with. That really simplifies the process. I'll show you comparative measuring so that you can get accurate proportions and a good structure to your under painting, and then we'll move to color. I'll talk about light logic with the spheres. You can have a better understanding of how color works across an object, and then we'll move to color, lay in defining the planes of the face and then rendering the features. And there's a special section that really goes in depth about the structure of the features . And then in the demo, I show you how I apply that to the painting thing. So in this class you'll discover how to get a luminous, lifelike quality to your portrait, and I'm really excited to see what you create 2. Palette Set Up: way we're gonna be using a full palette as we move forward to color. The full pellet really provides the full range of possibilities with color. And I'll use this for landscapes will use those for figures. I use this palette for everything that I do where I want. Ah, full range of colors. So, um, it's really nice eventually to choose a palette that works for you and really stick with it and keep the orientation of it. You know, on your side table the same way all the time, too. And eventually you'll get kind of an intuitive sense of how to mix the colors. So hopefully this will be a palette that you really resonate with but basically in your own studio practice. Eventually choose a palette that works for you and stick with that. So we're gonna set up the pallet together. Get out all of the pains. There's a pallet handout that has all the colors listed on it and shows a photo of the arrangement. Also have a palette knife and a rag, and let's go set up power together. So I've got all of the colors arranged in an orderly fashion, moving from warm to cool and from saturated to de saturated. There's gonna be some premixed colors over here, which I'll talk about in a second. And as you put the colors on your pallet, make sure to put them around the outer perimeter of your palate so that you'll be leaving the center area clear and clean for mixing as you go. So we've got titanium white here. We've got what all mixed into a cream color here with a bunch of titanium white and a little teeny bit of yellow Oakar. We've got lemon yellow here. Cadmium yellow, deep cadmium, orange cadmium, red light, a lizard, permanent yellow joker, burnt sienna, breeding green, ever cobalt or, um, like a cobalt thio or cerulean, just a sort of turquoise sea blue altering blue. Either lamp black or mars black. And then the premixed colors, which I'll talk about in a second. You can see that some of the colors are mixed down to what's called String Zero. Got a dark, the darkest version of the color of the darkest, purist version of the color of the back, and it's sort of mixed into a Grady int of white towards the front this way, you'll be able to use, like from the lighter area of the color if you're working the lights and safe from the darker area of the color when you're working the shadow side. So it really helps with the mixing jets at the palate up this way and to create a string. I've left this one ready to do. You'll basically take your palette knife and do this kind of wiggly side to side stroke and just pull a bit of the color down into the white. You want to make sure that you get some color down in the base of the white there, so it you don't just have white at the bottom. We've already got white on our palate over here, and you're just wiggling it side to side, pulling a little bit more color down. Make sure not to get any white in the back. You can see how the back of the color is totally, just pure color. Um, you want to have access to some pure color with no white mixed into it as you're going as well, so mix. Mix that out. We do it on a um, the Cagney and Jello deep, the cat Orange Cad, Red laser and Permanent Meridian and the green. I don't do it on this yellow because it's already so light and I don't do it on the blue or the black because we actually have a premixed section of those colors For this cream color , you can mix those together again. Just use a really small amount of yellow Oakar. You want it to basically mixto like a cream color of use too much yellow car. It'll be too deep. Remember to wipe your palette knife off in between mixing so that it's clean. You want to just keep everything clean and ready to go this color here and again, it's described on the palate handout. This is going to be our base flesh color, and I've got a bunch of white, a little bit less orange, and I'm actually gonna mix this one first. Which is the little bit of yellow, a little bit of ultra marine blue and a little bit of titanium white, more titanium white than blue. Mix this together, and then we're going to mix a bit of that into our base flash color. So based likes of flesh color is basically like a de saturated orangish color, and and so by mixing a little bit of blue into this orange and white, it's gonna make a little bit of a de saturated meeting, slightly grayer version of the color. So there's a few words that I'm gonna use throughout the course to describe color. There is hue, which is like the color of the color lake, red or yellow or green. That's Hugh. And then there's saturation, which is like the intensity of the color, like the vibrancy of it, like gray would be a really de saturated color. Orange is obviously released, intense and saturated andan. There's also tone and tone is like the lightness or darkness of a color. So black is obviously really dark tone. This is kind of a mid tone. This blue white is really light tone, and so those are the three words that will use to describe color. We've also got a gray mixture over here, just a bit of black, really small amount of black. The black can be really potent, so creep up on the amount of black, and this is meant to just mix to like a mid tone kind of like the color of the palate, but I'm using. And by the way, it's useful to use either, like a gray palette like this or a wooden pallet you'll find when you use those white pallets, it's hard. You'll mix the color and it looks one way on your palate, and it look a different way when you put it into the context of the painting. These last two colors here or what? I'm gonna be referring to his base shadow colors, and basically they're a mixture of complementary colors that will create like a rich brown . In the under painting, we used burnt umber as the brown for the under painting, and now I've actually taken burnt umber off the pallet. We have burnt sienna, which is a richer color but not burnt. Umber cause burnt number is a little bit of a dead feeling color and instead will mix these two complementary piles together to get a richer, more varied, more interesting shadow color. So if we look at the color wheel here, basically we're mixing colors opposite the color wheel. We've got green on the screen. It's hard to see that this is green But this is a very rich meridian green and are mixing it in with its complement, which is red. And by doing that, we're going to get a nice, rich brown color. But it's just got more of a richness, more of an interest than burnt number. It's hard to describe it. It's something that you'll definitely feel, so it makes us to kind of like a chocolatey brown. And again you can wipe the palette knife off, and then the next color is cadmium orange, mixed with ultra marine blue. And so again you can see how these air opposite each other on the color wheel, and they're gonna mix to a slightly different sort of a brown. I find this mixture creates a little bit more of a greenish brown, and it's nice to have the variety and the options you'll find. Some times the shadows will look slightly green here, and sometimes they look slightly browner, and so I like to have both of these on my palette. So that's how, instead of the palette, this is going to make it really easy to work. So get your palate set up like this and let's get started on color 3. Light Side Color Lay In: Well, congratulations on making it this far. In the course at this stage, you wanna have your underpin and completely dry so that as you work on top of it in color, it'll be totally set in place of the under painting phase. Also, you want to set up your studio so that you've got your photo reference right up next to the painting. So I've got a print out of my photo here. It's right up next to the painting. I've also got the photo opened up on my laptop so that I could look at it on the screen. The colors are more precise on the screen, so it's nice to have that too. And again there, right in front of each other on this sort of picture planes. So I don't have to, like turn and then look at the painting. It's all sort of right in front of me. I've got my palate within arm's reach on my right hand side, right. Easy to access. So we're gonna move to color next, and we're going to start with a color lane. We're gonna basically block in the light side and the shadow side working them separately. and will be really focusing on what's called Fall Off where at the top of the light, the lights coming down on the figure so towards the top of the head is going to be the lightest area in the light side. And as it moves down the face away from the light source, it gets just a little bit darker. So I'm gonna show you how I do that. And again, that's called Fall Off. And then we're gonna work the shadows separately, keeping them really unified. So those are goals for this stage. Get out all your pains and we're gonna set the palate up together. 4. Light Side Color Lay In (Continued): we're gonna start by blocking the light side first, and we're gonna be doing what's called a color lay in. So it's basically a flat color. Just getting the color shape blocked in. And what we're really gonna be capturing is the sense of fall off to the light. So our light source is coming down on the model, which is me. It's a self portrait, and it gets progressively darker as it moves down away from the light source that's called Fall Off. So I'll show you how I would just do that, making it a bit darker as we go. Don't do anything in the shadow side yet. We'll work that separately in the next stage. Also, I've got a brush you'll want to use like a fairly large brush. You could use something like this. This is the bristle brush with stiff bristles. This is a Graner Brush Princeton Graner brush. It's springy, it's large. Whatever. You use you something large at this. So I'm just going to dip into the base flesh color, and you could use a teeny bit of oil, but not too much. Actually, you want the lights to be like physically built up, and I'm going to start with the most saturated area of color, which tends to be the top of the forehead. And you can see, as I put it on, that it feels too saturated and to light. So I'm gonna de saturate by adding a little bit of great, not too much. And just mix that into a base flesh color, and then I'll just try another dab, and that feels better. And so we're going for a color. That's kind of a middle tone without hitting the lightest lights. At this stage, we're kind of going for even a slightly darker version of that kind of mid tones of the light that will leave some room to lighten up. On top of that just leaves room to go. If you start to light, it'll be two white everywhere, and there's no you know where to go from there. So as I moved down the face, I'm gonna makes a little bit of transparent red oxide or burnt sienna. It's basically the same color, just different names into the base flesh color and just apply that I'm gonna also makes a little more gray even a little bit more transparent red oxide. I'm letting the strokes cross over the lines. That's really important. You don't wanna have, like little bits of the under painting, showing through almost like an outline in your painting. So I know it's a little bit scary or afraid that you'll lose the drawing, but let it just cross over. And if you really start to freak out and you wonder where your eye when you can take a rag and sort of bring it back, Teoh Way confined it again. So cross over the lines as I move into the lights of the eye socket. That plane that undercut plane is darker, you know, than the top plane of the forehead. So I've darkened it a little bit with the base shadow color, and it's just a little bit darker, a little bit de saturated in tow, in saturation. And so I'm just getting done in. And then, as we move back to the top plane facing the light source of the cheeks, I'm gonna mix the base flesh color the base flesh color with a little bit of red you could use either read. I'm using a little bit of the Alma lizard permanent a little bit of a pinky red to get and all use a little cat red to to get the pinky nous to the cheek. So we're looking to get the flat color lay in that darkens of it, moves down the face and has a little bit of the changes in local color that occur as we move across the face. From this cheap to this cheek, the color gets a little darker and a little de saturated, so I'm just mixing a bit of gray into the color even a little bit more. Sometimes you'll find that when it gets blended together, these shifts that you make in color become more subtle, you know, than when you first put them down. So you might make the changes just a little bit stronger than you think they need to be without being like too strong. You definitely don't want it to be too strong, mixed a bit of gray in to get the slight definition where the nose overlaps the cheek. This is a pretty lost edge, Um, meaning we only barely see it. We don't see that much of a line there, so make sure to keep this really subtle, pretty understated, and that will work well as we moved to the nose. The nose has a little bit of a pink een Issa's. Well, noses and ears and fingertips normally do. So I'm just bringing a little bit more pinkness, but the cad red light into the nose and then gonna continue down through the face. I'm gonna add a little bit of the veridian green. You could mix these colors in so many different ways, so it's important not to get too caught up in, like how to mix the color. I could have mixed a little bit of blue or a little bit of great get gray into the base. Flesh color, too, achieved basically the exact same looking color. Um, but in this case, I've chosen to use a little bit of a radian green. I'm also gonna add just a little bit of transparent red oxide, which helps darken the color. So what I want to achieve and again there's so many different ways of doing it is that it's getting darker as it moves down the face and it's getting de saturated so it's brighter, more orange up here and It's more kind of grayish down here and it's darker and it sometimes looks a little bit weird at this, like Color Lee and phase. Almost like I have a four o'clock shadow or something. But when it all blends together and you get all the details on, it won't look that way at all. It will just have this sense of form and the sense of the fall off to the light. Another thing is that in terms of the direction of the brushstroke that I'm using, I'm painting with what's called across the form brushstrokes. So, um, let's see. So, for example, if you imagine, like the shape of the face, it goes this we like the shape of the jaw goes that way. When I'm applying the stroke, I'm painting across the form like this kind of perpendicular to the edge, and I talk more about this in the essential skills section of the course. But painting across the form actually enhances a sense of form and really improve your paintings. It's one of the most common mistakes is to paint with the form, so really get in the habit of painting across the form and review the essential skill section where I talk more about that for the lip, the lower lip so the upper lip is in shadow. So don't do anything to the upper lip yet. And then for the lower lip, just his base flesh color mixed with a little bit of cad red light to make a color. That's just a little bit pink here. But it's the same tone as the skin around him, and I'm also gonna just finish off with the jaw area on the right. I'm using a bit of green, a bit of the base flesh color, and there's also a little bit of red in here and and again. Red and green are compliments, and maybe I'll even I mean, this is the red and green here, the base flesh up his shadow side color. They basically just d sat trade each other while making it kind of rich and interesting, and it darkens the color, and it could be a little darker. So I'm adding a bit more of that red green complementary mixture of the base shadow color and and I put it in with the form in this case, so following the shape of the edge, but that flattens out the form soap For a final touch, I'm gonna wiggle across the form perpendicular to the shape of the edge, and that's how I would do that. So since the light source is coming down on the figure and have got that fall off through the face where it gets darker, that was down to the face. I'm gonna also make the body have some of that sense of fall off, making the colors of the lights and the body a little darker. So I've makesem transparent red oxide into the base flesh color, as well as a little green to de saturate. And we're just gonna bring a coat throughout the whole area before adding any of the little color shifts to it. And it looks like it gets even more de saturated towards this. It almost feels that cooler. So I'm mixing a little bit of green in. So when you put down a color, you want a judge it based on the three parameters, Is it the right Hugh, you know, Is it like the right isn't orange or blue or whatever isn't the right tone, is it like dark enough for light enough. And is it the rate saturation? So you don't want to expect yourself to mix it like, exactly correct like right from the start. Instead, you put it down and then you adjust it by judging it against those three parameters. A lot of the time, the chest will have like a little bit more of a pinky nous. Maybe it gets more sun or something, so I'm bringing a little bit more cad red light mixed with based flesh color that's a little bit too intense. Wrights looks too saturated, so I'm gonna de sac trait that a bit with more based flesh color. And that's how I would do that. So again, not expecting ourselves to hit it exact from the start. But putting in a you know, your closes shot and then judging it and adjusting it. It kind of takes the pressure away from thinking that it has to be perfect right from the start. And then we've got the two shoulders so the back shoulders really dark, really setting into the distance. I'm going to use some base shadow color mixture with the green and the red mixed with some um, based lakeside color and a little bit of transparent red oxide. Just put that in, getting that sense of it, really sitting back into space and being nice and dark. I'll bring a little bit more of the base light side color into the front of that shoulder. Just toe. Bring a little bit more connection, you know, from this shoulder into this and actually motor gonna bring just a little bit of this darker color into the chest just to help them kind of connect through. There's a little bit more sort of a darker note through here and then moving to this shoulder. Now this part here is true shadow side. But I will go into this, which is the dark light side, using based flesh color, some transparent red oxide, a little veridian green and just get that overall. Since painting across the forms of the line of the edge goes this. We like the line of the shirt rather than putting it in like this, which flattens out the form. I'm wiggling across the form and even crossing over the edge a little bit and will restate the edge so you don't need to worry for Now we want to create kind of an interweaving at the all right, and then we just need to get a bit of a color for the light side of the hair for the hair will use the base flesh color mixed with some yellow Oakar and a little gray blond hair is basically mixed a lot of the time, like that based flesh colored crane, a bit of yellow joker. And then again, all use a little bit more oil, as I do. The hair just has a silkier sort of feel. When I did the lights of the face and figure, I hardly used any oil it all. I want the lights to be texturally built up and have more body to them. So so, yeah, don't use much oil in the light side of the face, but as you move to the hair, maybe use a little more. And when we moved to the shadows, you'll use even more. And then there's this little bit of light side here. It's darker and cooler, so I'm using the base shadow color with a bit of gray next into what I used here, which was the base flesh color with some yellow car and some gray. Just bring that through there. You can really wiggle across this edge to let it be totally lost from the face through the hairline and into the light side of the hair. That's important to Dio, so that's basically the lights blocked in. So get your painting up to this stage block in your lights. Don't do anything in the shadows, and we'll do the shadows next. 5. Shadow Side Color Lay In: So you've got your light side color, Lee and done. And next, we're gonna move to the shadow side Color Lee and A, to this stage will use again a large brush. You use a little bit more oil than you used in the color early in phase off the light side that will keep the shadows a little bit more transparent, which is a nice effect to achieve. You'll also really be wanting to make sure that the shadows air dark enough. So you really want to make sure everything in the shadow side is darker than anything in the light side. And also that if you squint all the shadows sort of merged together, So the tonal variation of the shadows is fairly compressed. So let's use the base shadow color mixture. I'm gonna use a little bit of both, actually, and a bunch of walnut Alcon medium and a little bit of my base flesh color. And I'm gonna see what that looks like on the canvas that looks pretty good for the cheek color. Just like with the lates, you're gonna put it in, a zoo, closes you can, and then you're going to adjust it From there, I'm wiggle stroking along the edge to just soften that edge where the two meet just in a small, narrow kind of wiggle. So you don't want to do it too big where you like, lose the You know, the shape of this place where the light meets the shadow, but you can just do it in a small way to create a soft edges. You go that's described more in the essential skill sections of feel free to refer back to the essential skills and I'm using are also mixed a little bit of green Viridian green into the shadow color, and that's going to give a nice, subtle coolness to the shows. I'm gonna brush right through where the light side meets the shadow. I'm sorry where the lighter, shadow side of the face meets across the jaw line and just lose that jawline for now, it's because we want the everything in the shadows to merge together, that you actually want to obscure some of the information initially so that it really is all blending together, and later you can bring the definition of like where that jawline is back in afterwards. Right now I'm using a color that's a little bit warmer. I've mixed the complementary shadow mixture of red and green together so that there's a little bit more of a brownish color here, a little bit more greenish here. So just getting subtle variation and wiggling across the place where they meet the wiggle stroke is almost sort of related to painting across the form. It's like a small version of painting across the form perpendicular to the shape of the edge. There is a shadow that cuts through the side of the eye socket here and kind of connects into the eye, which is really beautiful. And there's also a shadow. I'm wiping my brush off, by the way, in between mixing new colors, there's also a shadow towards the front of the eye socket with transparent red oxide, more of a warmth to it. And that's a really beautiful shadow to this kind of shape that forms right in here, right where the nose inserts into the skull and where the brow kind of turns into shadow of the flesh. So the place where the nose inserts into the skull is just above the tear duct, and it's useful to keep that in mind as you're going. If this shifts down too low, it'll look weird if it's too high for Nosal to look too long. So as you work this, just keep in mind that that place where the nose inserts into the skull is just above the tear ducts line. There's a shadow shape underneath the island here, which kind of anchors three I into the face. So you want to get that in. We're painting over, you know, over the lines, really describing forms and not painting with linear lines at this stage. So allow yourself to do that and then into the upper lip. I'm gonna use some of the sort of base shadow that we've been mixing using sort of based shadow color mixed with a bit of the lighter flesh color, and I'll mix a bit of a lizard permanent into it. It's gonna make like a kind of de saturated, purple lee pinky kind of color, and towards the top of that, it gets a little lighter. So I'm just mixing a bit more based flesh color into the top. So I'm working like broadly at this stage. I'm not trying to stay within the lines. I'm tryingto just paint across the form and let let things kind of connect going into the nose. There's this really important form shadow on the lower side of the knows. I'm going to use based flesh color mixed with some of this reddish color that I've used for the upper lip, actually, and again, you can refer to the essential skill section to understand more about the structure of how to describe the features such as the nose and in it. It really describes this very important form shadow on the lower plane of the nose, and the nose is so soft and rounded that it could be hard. Teoh really perceived that sometimes, so it's important to keep in mind that it's there and to block that in. And then there's also a cash shadow coming down the nose. So there's two kinds of shadows as form shadows, which is like the shadow on the form. So there's the form shadow on the nose. And then there's cast shadows, which is the shadow that's being cast from a form onto another form. Often the form shadows will be a little bit warmer, and the cast shadows will be a little bit cooler. Warm inning mawr, you know, a little bit read or it's all relative. But the form shadow of the nose feels slightly redder, and the cash shadow of the nose feels slightly cooler, meeting like slightly bluer, slightly greener. And so it's subtle stuff, but I'm gonna put it in with that in mind. It can also help you perceive better to keep that in mind. Sometimes the colors that you're working with, the colors that you're seeing can be so D sat treated that it's really hard to tell what you're seeing. So sometimes having the kind of color structure in your mind helps to understand the colors that you're seeing more clearly. And I'm just restating the line of the nose with a warm color and let's see. So we also want to get the shadow side hair in. For that, I'm gonna use a lot of oil. I'm actually gonna wipe my brush off pretty well. I'm using this grain or brush like wood green, and it's a one inch greener brush, and I'll use some base shadow color, the red green mixture, a lot of oil and maybe a bit of the blue orange mixture as well. So a bit of our to shadow color tiles, maybe a little bit more blue. So yeah, lots and lots of oil that will help the brush flow or fluidly and see how you get these hair like effects with this brush in the potential steel section, I talk about how I'm doing airplane strokes for this. So I'm starting with the brush firmly on the canvas where the colors full and I'm lifting and pulling like an airplane taking off as I go. And that gets this kind of hair like, sort of textured stroke. And it's working across where the bend of the form occurs, and right now it looks a little bit even. So, I want it. I want to make it a little bit more varied there, something like that, And see, I think the top color of the hair feels like ever so slightly warmer, just ever so slightly. Browner, and it doesn't have to be exactly like what we see happening in the hair. It just has to feel hair like. I think that's especially true when it's like curly hair. Um, it's more important for it to just feel hair like and loose and gestural and flowing. And then it is too carefully. Paint every single stroke, and that's what you really want to avoid. Actually, is the tendency to get out a really small brush and light carefully paint in every line of hair. It'll always look weak and flat and unconvincing. Instead, using the brush in such a way with these kind of airplanes stroke sort of tethered edges that you'll get the effect of hair that will feel more convincing. I'm also twisting the brush as I go, so I'm starting with the brush like sort of square on the thing and that I'm twisting it as I go to create like a tapered edge. So it's like a wen shape sort of brushstroke, sort of a triangular shape, and there's a little bit of the shadow colors showing in here a little bit. It's a little later in a little warm, where I'm using some transparent red oxide, and so with the hair you want to be describing the forms of the locks, not like individual strands of hair. So I'm looking at how this lock right here turns and there's a light that crosses through the whole bending turn off like all of these locks. So, yeah, really looking at the shape of the locks and not individual strands of hair, and that's that's a fine color blocking for the hair, I think. Lastly, now just bring a little bit of definition to the jaw. Gonna just bring a slightly darker, warmer color into here. I also need to just go in with the shadow color on this side of the shoulder, just based shadow color with a bit of face clash color. Too late mitt. And you'll also actually want to just address the background at this stage two. I like a lot of this already, and it's basically just white, black or grey and a little yellow Oakar. And I just wanna make it, you know, all wet new pain. So actually gonna shift to a larger brush as I do that dark in the color a little bit from my first shot. Now lighten a little bits that can take a couple tries, and that's to grace all at a bit more yellow Oakar, so you can see how you put it down and then assess and make the corrections. And with the strokes, the direction of the strokes you want. I'm putting it in with the form like this, just for sort of the easiness of it to get the shape of the head. But then I'm gonna wiggle across the form afterwards that I don't get a halo like shape nearing the shape of her face. And instead there's sort of changing brushstrokes that don't follow the shape of her face. And I'm bringing it right up to the color of the hair. So that's so wet pain of the hair mixing to the wet paint of the background. You want to get that sort of interweaving at the edge, and I'm gonna go ahead and darken the color slightly, just with a bit of black as it moves into this area, maybe even a little bit more. Maybe a bit of black and some ultra marine blue. I'm also keeping the edges of where it meets on the shadow side, even more soft and lost, So the hair, like where it meets the background here it meets, and it has a really soft lost edges, needs to keep the edges of the shadows really soft. It helps him set back more, and at this stage just needs to have mostly soft edges in general. That way, as you refine things, you can sharpen the edges and bring more detail. But as you're just blocking it in, things may move around and stuff you won't have, like a really distracting sharp edge in your way. So now we've got the light side lay and done and the shadow side Lee and done. And next, we're gonna move too big for modeling, darkening at the edges, and then we'll start to describe the planes of the features. So bring your painting up to this stage and will move to big for modeling next. 6. Big Form Modeling: big for modeling is the stage where we developed the larger form. So the egg shape of the head, the cylindrical nature of the neck and the kind of flattened cylinder of the body. Basically, it means darkening towards the edges of forms and lightning in the center of them. So before we moved to the features of the face of the planes of the face, we're going to get those big forms first. So I'm going to work with the big brush still, and I'm going to start by bringing a little bit of a darker tone to some base shadow color and black kind of wiggling it and some airplane strokes along the edge getting that large form the large darkening egg shape of the head. And I'm also gonna lighten in the middle of forms. I'm going to get out of brush. That's just a little bit smaller than what I've been using. Um, yeah, but still fairly large. This is a bristle Brush the bristles air good for doing textures. And I'm gonna use some base light side color mixed with a bit of white and a little bit of gray in the Essential Skills section off the class. There is a light logic module, and it talks about how the lightest lights are a little bit cool, so don't mix yellow into your lightest lights. Instead, mix white, which has a cooling effect and a little teeny bit of grey. So the lightest lights are just a little bit cooler than the body of lights. And again there's a really good module that talks about all of this. So I'm just gonna wiggle stroke through the center of the nose, getting the lightning through the center of that form. Bring a little bit of a lighter area in here. I'm gonna bring sort of zig zag e light through the hair. It's nice to have a really strong connection between the lights of the face, kind of like a lost edge and a strong connection and the lights of the hair. So you want this edge to be really lost and there be a connection between the lights of the face and the lights of the hair and have it kind of zigzag. So it's, um, yeah, kind of zig zag. And with the cheek, I'm gonna get a color that's just a little bit darker than the one M that's already there. I'm using some gray and some light side color, and as the face moves towards this side, it darkens and cools. And as it moves as the lights moved towards the shadow side, it's sort of warms and darkens, and I'll talk about that. They do that, so I'm mixing a little bit of a grayish that's too gray. It's gonna be just a little bit cooler than the tone that's already there, and I'm kind of wiggle stroking it down the edge. So just wiggling my brush a little bit from side to side as I go and I'm letting it, I'm sort of lifting and pulling it over to this edge. So I'm crossing over the line and I'm gonna cut back with the line. After with the hair color to redefine where the edge of the faces you want, Teoh really make sure that you're crossing over that line so that basically what you want is it to get darker, darker, darker, darker, all the way up to that edge. And what you want to avoid is having it get darker, darker and then have a little bit of the original color lighten right at the edge. So it takes a little bit of a trick. Teoh manipulate the pain to really create that sense that it gets darker, darker, darker, all the way to the edge. So it mixed a little bit of, ah, warm. It's got a little bit of a lizard permanent in as I dark in this color up to that edge. And I'm basically just working around all the edges, just carefully bringing in that slightly darker color right at the edge. And now I'm gonna wipe my brush off well and get the hair color, which is basically the base shadow color and just re carve out the shape of that line because I've crossed over it and pulled it a little to the right. So now I'm just gonna carve it back out in the place that it should be, just pulling it back to the left. And the other thing about Big Four modeling is that the more turning like the more rounded A form is, the softer the edge. So I've pulled out this clean, dry brush and I'm just gonna very lightly wiggle along this edge which just slightly softens the edge, making it less sharp and just a little bit softer. And that actually gives even more of a since of the Big Four modeling. And it also allows a little bit of the hair, the darker hair color to mix into the color right at the edge of the face and even pushes that big for modeling even further. Now go through the body again, just wiggling the slightly darker color darker. Browner along that edge. Yeah, gonna wiggle across this edge just a little bit as well to lighten, just soften it. And with the nose, you can see that there's like this slight definition of the nostril up here. Basically, as faras, the lighting pattern on the nose goes that this is all light side. This is like mid tone light, and the true shadow is through here. So you want to just keep this like, really soft and subtle and not too dark. And then the true shadow is at the back of this nostril, and it's a little bit warm. It's a form shadow, so it's a little bit warm. I've mixed a little Eliza and permanent and a little transparent red oxide into that. To mix that color with the lower lip, you can wave your brush off, get a clean, dry brush. Just take the paint off your brush and wiggle across where the lip meets the skin and just have a lost edge. They're also I missed the shadow underneath the lower lip when I was doing the color lay in . So if there's parts that you realize you've missed, you can add the color land for those elements. This is a slightly cooler kind of gray green dark shadow pattern underneath the lower lip, and it's really the shadow underneath the lower lip that describes the lower lip on the lower lip. It doesn't have an edge to it, you know instead is described by the shadow underneath the lower lip, and so that gives it a lot of form. And you can restate some of the lines on top of the drawing after getting the big forms in , and I'm using a really warm color to do this. This is a lizard permanent, and it gives a nice like color sort of pop sort of a punch to have some areas of saturated colors and mostly more de saturated colors. Another area that I noticed that I haven't actually gotten the color Lian in is the shirt with the shirt. Even though it's black, it still has a light side shadow side. So I'm using a really black for the lights us, our shadow side on this side. And then I'm just gonna makes a little bit of gray into the color as it moves towards the light side. Just established up color early and painting across the form as usual. So not, I might put it in initially with the form following the shape of the edge. But I always break that up afterwards by painting across the form. And at the same time is this. I'll get some of the Big Four modeling in by having a darker color True, black as it comes right up to this edge. So we're getting that sense of the turning of the form. So that's how I would approach the big for modeling, bring your painting up to this stage and will move to blocking in the different planes of the face next 7. Features Handouts: it's important to understand the construction of the features before moving on in your paintings. So I want to discuss some handouts that you can download and follow along with me. There's the eye, the nose and the mouth handouts. So download those print the moat, grab a hard surface and trace along with me. And let's discuss them in more detail. Let's start with this more front facing I, where you can see the construction lines more clearly, and this center line that's coming through at an angle here represents the tilt that the I slopes either towards the nose or away from the nose. And this drawing the nose is on this side. And so it's basically the relationship between the inner tear duct in the outer corner of the eye. Obviously, it won't be in your final painting, but it's just representing the tilt. So if you you know some eyes have, like more of a slope inwards like a characteristic feature, that's kind of cat eyes. Some eyes characteristically slope away from the nose, and also the tilt of the head can change like the person. That perspective will change. The Children they had eyes so if the eyes, If the heads Children down the idol slope in towards the nose and if the head's tilted back , the perspective will make the eyes slope away from the nose so you can take like a horizontal plumb line. Check that relationship there and then and yet trays along. As we're going, you get a good kinetic feel for the construction of the features, so next will break the upper eyelid down and even see how are breaking this curve into two angled straight lines, with the apex favoring in towards the nose on this side. So breaking the curve into two angled straight lines, Apex waving and towards the nose, you can break the lower eyelid down into two angled straight lines with the apex favorite away from the nose on the lower edge. So you get this kind of skewed rhombus effect where the apex is, and I'm gonna be calling the turning most point own occur of the apex, where it's in, towards the nose on the upper eyelid and away from the nose on the lower island and then breaking down the upper I'll increase. You can break that curve and two angled straight lines, three angled straight lines. And for the lower eyelid, you can break it into two angled straight lines, with the information favoring away from the nose. Look for an two angles to describe the eyebrow as well. Don't just do it as a big generic curve that looks really weak. Instead, break it down into two angled straight lines as well. And then the iris is fairly large, takes up half of the white of the eye, and it's partially covered on the top by the upper eyelid. That's really important because it gives the I more of a relaxed look. If you can see the whole top of the iris and the pupil in your painting, it gives it this, like steri by guide, kind of feels, so make sure that is partially covered at the top to get that more relaxed look so moving on to the more rendered version of the eye. And again keep tracing along with me. You can see how the I curve Thea Upper eyelid breaks down into two angled straight lines, with the apex favoring towards the nose. The lower eyelid broken down into two angled straight lines. Apex favoring away from the nose, which is on this side, and this drawing as you do the final rendering, you'll really curve out this lower lid and have it really wrap around the eye at the corner so you don't want, like, a big point on the corner of the outer corner of your eye in the final. Instead, he'll really wrap this around to show the curvature of the eyeball, then breaking the crease of the eye into three angled straight lines. They're slightly curving, angled straight lines. But really looking to nail those apex is, which is what's going to give the structure and solidity to your constructed the construction of your features and then the lower eyelid broken down. It's too angled straight lines favoring the back of the, you know, away from the nose. The iris, like I said, it's fairly large, takes up half of the white of the eye, and it's partially covered on the top by the upper island. So that's really important. Um, as you go into the pupil, there is basically a cast shadow when the light source, which is this represented here, is coming down on the face. The upper island has a thickness to its little cast, a shadow on to the eyeball, and you can use that cast shadow toe actually connect to the top of the pupil. A swell. So looking at this again, we're having the I the iris, partially covered at the top. Then we're using a cash shadow that'll come down on the I, and the pupil will kind of connect to that cow's shadow, so that gives it more of a relaxed look. This illustration down here shows how the pupil, when there's like a strong light on it, or when the person scared the pupil gets small. And when it's relaxed, or when there's like dimmer lighting, the pupil gets larger. So a lot of the time. If you're painting, say, a model from life and you have like a really strong light blasting on the model, their pupil might actually look small, so I'll tend to make it a little larger again, using that cast shadow that comes down from the upper I to connect the top and give it more relaxed. Look the curve of the eyelashes kind of curve and come off of the line of the upper eyelid , and they grow in clusters, so they're not just evenly spaced or straight like this. They curve and crisscross and glowing grown clusters and the lower eyelid. There's some that curve and crisscrossing blanc grown clusters coming off the lower eyelid , and that's favoring the back of the eye. So there's not so much eyelashes towards the front. There's this really important little light rim of thickness to the sort of top shelf of the lower island, which is really important to get in. So really, observe that and definitely get that in. It could just be like one little brushstroke, kind of a pinky, flesh colored brush stroke. But it'll give a lot of dimension to your eyes and really make it look solid and structured . Also, don't forget the darker front plane to Lower Island that will help really solidify, like bringing the eye into the face. Um, the hot highlight of the I, the little white dot, which is a reflection of the light source. It occurs right at the edge of where the pupil meets the iris coming from the direction of the light source, and I'll show you how all of this applies to the demo and when I do the demo. So and then looking at the profile, I you can see how the shape of the upper eyelid looks like a wedge shape. So it's like a triangle, so avoid the temptation to sort of pull it back and curve it to make it into the shape of an I know. It's like a full wind shaped like a triangle, the line of the lashes kind of curve and come off of that line of the upper eyelid. And then we've got the pupil looks almost just like a line. It's like a dark little line coming down off of the line of the upper island, and the iris looks like an oval. It's a circle in perspective, which is called in a lips, and there is this little clear dome in front of the iris, which is called the cornea, So you don't wanna have the colored part of the I extend all the way to the front. There is the little clear dome that sits in front of the iris. Also, the upper island has a certain thickness to it. They both do the lower eyelid as well, and the upper island has more thickness than the Lower island. And so there's a certain angle created from the upper island to the Lower Island. And also, if you think about like where the center line of the eye is like if we have our pupil, we have our iris, and we have the cornea and the sort of center line through that where the upper I crosses over the lower eyelid is just slightly lower than center. So the vertical height of the upper island is taller than the vertical height of the lower island. And again, we've got that little light room of thickness showing on the top shelf of the upper island and then looking at the 3/4 view, same considerations. Break the upper eyelid into two angled straight lines, with the apex raven in towards the nose, the lower eyelid in the final rendering. You'll really round that out. Get that little top light ridge, get that little light rim of thickness to the lower eyelid, and again make sure it really wraps around the curve of the eyeball. The iris from a 3/4 view will look like an oval, so we're starting to see the turn of the iris. It's not a full circle and also always set the eye socket into shadow. And that shadow gets darker, darker, darker as it rolls towards the crease of the upper eyelid. And there's the little darker front plane to be lower eyelid as well. So I think that will really help you as you refine the features refining the I and let's move to the mouth. So let's start with the front facing both and work through the center crease of the most. So it goes horizontal first and trace along with me and then angled straight line, going up, angled straight line going down. This is like a Big M angled straight line going up again, angled straight line going down and then that horizontal note again. And then the upper lip is sort of a curving, angled, straight line going up, down, up, curving, angled, straight line going down and the whole upper lip. When the light source is coming down on the model will be in shadow and the lower lip. We won't have any edge to describe the lower lip. The lower lip color will basically be like base splash color, mixed with a little bit more cad red and white, so it will be the same tone as the flesh around it. But it will be, ah, little bit pink here, so you'll put in that tone than the pink your color. Take us off Russian Wiggle along that edge to create a totally lost edge here and instead, the definition to the lower lip comes from the shadow underneath the lower lip, which will often be a cool ish color, sort of a grey green often, and then the lower lip is constructed of two circular fat pads. He'll get this little David in the center, and sometimes they'll be like a highlight running through here, depending on the direction of your light source. Looking at the 3/4 most, it's the same considerations as the front most. Now you'll take all of the horizontal those that were, you know, the base of the front view, and now they're receding to a vanishing point, which is kind of over here, and the whole face will really be receding to the vanishing point. The eyes, the knows, everything goes to that vanishing point, and so again, the center line of the mouth could be constructed with the horizontal and an angle straight line going up, tangled straightly going down up again. The horizontal distance is getting a shorter that goes back into space down again and that little horizontal that anchors in the back corner of the most and then the upper lip kind of an urn angled straight line, going up, down, up, curving, angled, straight line going down again. The horizontal width is getting shorter as it turns back into space. The whole upper lip is in shadow when the light source is coming down on the model and it gets darker, darker, darker as it rounds into the center line of the lip and then the lower lip. There's no edged lower lip here. You might see a little divided between the two circular fat pads that make up the lower lip , and the construction or the sort of edge of the lower lip, is defined by this cool shadow. Underneath the lower lip and with the color of the lip, you'll probably is like a warm radish brown for the upper lip. Cool the color a little bit as he moved to the back corner of the most and Then it turns into this soft, cool sort of grey green note with a lost edge that describes the muscle. Talk it like the back of the most. So that's the 3/4 mouth and then looking at the profile most so all the edges of the mouth will have soft edges except for this center line of the lips. But with the profile, you'll want to get really sharp edged right at this part here. So the upper lip cuts up at an angle straight line about a 3/4 decree angle coming up, 45 degree angle going out, and then it slopes in underneath the nose. You condone. Construct the sharper edge of the um, center crease of the most cuts up at a certain angle down. And that little suggestion of the horizontal that anchors it in softens into the muscle. Took the back curving, angled straight line going up and down on the whole upper lip, sitting in a shadowy, ready brownie purposely kind of tone, which gets like darker and warmer as it rounds into the center line. No definition through here with the front act of the lower lip. It's sort of overshoots from the center line of the most and then cuts down at a certain angles and then angles underneath the lip and out into the gym. And the structure of the lip is really defined by the shadow underneath the lower lip. So you have really study these angles here. That's what's gonna really get you a nice looking profile, and you can see that the nose also, by the way, sits half on and half off the face, so there's a tendency to make the nose, like all the way off. But you can see how it's kind of half on and half off the face from a profile, and that takes us into the nose. How about here? You can see there's more of a constructed version of the drawings in a more rendered version. So basically, let's start with this constructed version of the profile nose, and you'll break the curves, as always, into angled straight lines. Sometimes this here will just be more straight so you can kind of see what it's like on it . The person that you're painting. Sometimes you'll see the definition of the bony structure there and breaking the curves into angled straight lines. There is a really important insertion point right here. We're like the nose inserts into the skull and that occurs, like right above the tear duct. So the tear duct would be like here. And you can see that the nose inserts into the skull just above the tear duct. And that should have a really strong angle change almost like a rating and go. So there's a tendency actually to, like, curve this out and make it yet it's really curved. This line will turn into the eyebrow a lot of the time, but you weren't really. There is a strong angle change there and make sure to capture that. And then you can break the planes into the front facing plane of the sort of bony ridge of the knows There's a side facing plane and and also really important on the nose is that there's this very important form shadow on the bottom plane of the nose and a lot of the time with soft lighting. It's hard to really see that, like in the nose is so grounded, so the transition happens really softly, so it could be actually hard to perceive. But I promise it's there. If the note If the light source is coming down on the model and definitely put that in, put it in a little darker than you think. You can wiggle across the edge, get it soft, and the nostril will hide within that and avoid doing Don't do a nostril that's like a big circle pig nose. Instead, describe the lines of the nostril as like to angled straight lines sort of pulled down in the center to create the opening of the nose and again that sits within the form shadow off the nose. And then there's account shadow that comes down on the face off of the nose and a lot of the time cast shadows air cooler and form shadows. Air warmer. Always check. You can see with the lighting. If that's true, and then in the more fun like finished version of the knows, there's often going to be a highlight. Save the light source is coming this way on. The figure will often be a highlight, running along that band in the Plains, where the side plane meets the front plane and a little speculative highlight on the ball of the nose too. So looking at the 3/4 knows same considerations. Get that strong angle change with the nose inserts into the skull. Get the bony front plane and of the nose and that different tone for the side plane. Watch that the front plane of the nose is nice and narrow and bony and construct the curves of the nose of angled straight lines. Definitely get that form shadow on the nose, the lower plane of the nose all being slightly darker and get the nostrils to find with a nice warm color and two angled straight lines pulled down in the center and for the back nostril. The center line here is basically like this part, and then we sort of pull back and see some nostril hole showing behind it. And then there's the cast shadow that comes down off of the nose as well. And in the finished version, you'll put the highlight that runs down the bony plane where the front plane and the side playing meat and the little speculate highlight that occurs on the ball of the nose and then front facing knows same considerations. Look for three tones for the side plane front plane and other side plane always really get that form shadow on the lower plane of the nose and described the nostrils with two angled straight lines instead of the big circle pig nose and get the cast shadow coming down on the faces. Well, and then this illustration here just shows how the front facing noses vertical, the 3/4 knows shows some of the angle, and the profile shows the full angle of the nose. Also, if you go from the back wing of the nose and kind of follow it up at the same angle is the nose from a profile view, it takes you to the bottom of the eye. So there's a tendency in a profile to place the I too far forward. But following this, you'll get the I anchored in in the right spot, so I hope that helps you with the features. I know that it will, and I'm gonna show you in the demo how I would apply that to actually painting the forms of these constructed features 8. Blocking in the Features: start to describe the planes that sit on the big form, so the smaller forms that sit on the bigger forms. And to do that, I like to use the bright brushes, thes square topped brushes. They make like nice, chiseled strokes that can really car about the different planes, and you're going to be looking for three tones for each feature, so they'll be like a darker side of middle side and a lighter side based on the lighting structure of your painting. So that's what we're gonna do, and I'm going to start by working on one of the eyes and just sort of working out from there. What I'm actually going to do first is use a nice warm, dark color, some transparent red oxide mixed with some base shadow color and just restate the lines of the eyes with a nice, dark, warm brown color just to restate the lines. I've sort of crossed over lines as I'm going, and I just want to reestablish the basic drawing element, and then I'm gonna describe the forms on top of that so I'm not using black. I'm just using a nice, dark, warm color and we'll talk more about the construction of the features, Um, as we go. And there's also a special section in the essential skill section that really talks about the structure of the features, but for now, just basically restating my line and getting ready to describe the forms. So if I look at the form of this cheek, for example, there's basically a slightly lower, darker under playing, moving to a pinky warm mid tone and then the lightest sort of top plane. So those are the three planes that I want to describe, and so far I've got, like, a light top plane, a pinky middle plane, and I just want to clarify those and sort of look at the shape that refined the shape as I go. So I'm still working across the form bringing, bringing more clarity to the latest top plane and just taking me a minute to get the color right. I've mixed a little bit of pink, a little bit of the lizard permanent in with the base flesh, color and a little bit of a gray, and that's gotten it where I want it to be, and then the lower, darker plane of that cheek has the darker, warmer note. And I'm just wiggling, wiggle stroke, Applying that so that it has a nice soft edge and it rounds into that color. The color in the middle is the pinky er mid tone. So I'm using some Eliza. Um I'm sorry, actually, cad red light mixed in with my base splash color. Here we go. And you can really look at the shapes of the forms. Really, you know, refined the shapes of the shadows and off the different planes. I'm seeing as I work on this that the shadow side here kind of comes forward just a little bit more and connects into that cheek right around here. And then it has a soft edge that I'm just gonna wiggle. We will stroke along now with the color structure to the lighting. There is a lot of the time a cool note that comes right at the place where the lights meet the shadows. Right now, this is a little overstated. It looks to green, but there is often a slightly cooler note right where the light meets the shadows and so cool is really relative. It could be blue. It could be green it could be gray. It just is a little bit cooler than what's next to it. And I'm using my finger to soften that edge a little bit, too. Okay, and then looking in the eye, I want to get the three planes for the form of the eye lid so the front plane of the lower eyelid is kind of dark and warm. Then there's a lighter plane that comes in through the side here, and we get into the darkest plane to the left, which I've already kind of got in there. The white of the eye has a lighter side to the right, and it's fairly. It's darker than you think. It's some a similar tone to the skin around it, just gray er, so there's a really common tendency to make the white of the eye way to light. And that's gonna make the eyes look really freaky. And you want to make sure that you get it as dark as it really is. And then they let the white of the eye on the left is way darker. It's really subtle, and with the upper eyelid, there's again three planes. There is, uh, light Middle plane, that slightly darker plane to the right hand side, kind of a middle tone and then darker into the left. So we get this whole plane really dark, and it kind of connects in to the darkest side of the lower eyelid front plane, so that helps anchor the eye into the face with the eyebrows. You want to get different planes to the form of the eyebrows, too, so that the eyebrows don't just feel like lines like sitting, you know, drawn on. They feel like they're wrapping around the form, and it's really nice to get this subtle cool. I like to scratch to get some hair texture. But there's a later cooler plane right through the center area, right where the bend happens, and then as they around to this side. I've already got the warmer color in. As I'm looking at the planes again, you consort of refined the shapes. I'm noticing that the shadow just needs to come. It connects a little bit more to the eye, so I'm just gonna wiggle. We will stroke down on that edge to kind of bring a little bit more of a connection. Basically, bring that I a little lower eyebrow, a little lower, and I'll just restate this line a little bit. And then in this nose area there's a darker side plane, the lighter front plane and the slightly warming darkening side of the nose. And I think to begin with, I want Teoh just dark in this shadow, little bit more so really looking at the tones. Actually, I'm jumping around a bit, but I also want to dark in this pupil a little bit more, and I like the color of the side plane of the nose already. And I like the color of this front plane, which is a little It's admit the middle tone and it's warmer. I think that right now the highlight through the center of the nose is just feeling a little bit strong, and there's more of a gradual gradation from the mid tones into the latest light. So I'm just gonna adjust that a little bit. Okay, with this front edge of the knows, there is a major common tendency to make this line like a big, dark, horrible outline. Make sure that you haven't done that and make it like way lighter and softer than you think in some cases on certain photos you'll find that it's completely lost and you really don't even really see it at all. And the I'll fill it in like the I will put the nose in and just exactly the right place that it should be in. Um, yeah, and it'll look way better than if you have this dark outline. And so I'm moving through into the cheek, getting that darker under point of this cheek just like I did this one. Maybe I'll dark and a little bit more through here. There's a certain darkening connection through that cheek into this shadow and going into the upper lip. There's a little bit of a shadow shape at the back of the lip that helps describe the muscles at the back of the mouth that moved the most. I'm wiggling across the form so that it's not a linear note. It's really more of the form. And so, with the planes of the upper lift, the upper lips getting darker as it rounds into the center line of the lips, and I'm using a lizard permanent, some black and some base shadow color. And whenever I dio a dark like the darkest notes. I used extra oil. It makes the color more transparent, and that's desirable. So using a little extra oil, getting the turning of that form downwards, I'm cooling the color a little bit You could do with black. I'm doing it with blue. Either would work, cooling the color a bit as it moves into the muscle tucked at the back of the most and actually a similar color. We'll go in for that shadow. And looking at this upper lip I want to describe the planes of the upper lip is, Well, there is a slightly lighter plane that comes out here and there's that slightly. That's too strong else, often that open a slightly lighter place where the bend occurs, like here. And I put that in. It's a little strong. I'm gonna kind of wiggle and lighten and soften some of those notes. You want to keep this soft edged and not to overstated. You can also use the back of your brush and just scrapped across the edge to create that perpendicular to the edge type of effect, and it softens it and just sensitive nicely. Um, multi. Just gonna wiggle through here, creating a little bit of a softer edge and all bring a little bit of a lighter form right in here. The plane of the cheek rounds and darkens into this line. You know where the cheek is, meeting the line there and then that lines a little bit lighter. That plane is just facing upwards a little bit more and same on the other side. There's upward facing plane that's just a bit lighter right here and then with the planes of the lower lip. As the lower lip rounds down, we get a little bit more color and it's a little bit darker, so I'm just gonna bring in a slightly darker, slightly more saturated color to the turning of that form. I'm gonna wiggle across and lose Theo Edge more here, but I'm actually gonna dark and sharpened the egg just a little bit right here. And then I'll put the lighter center plane of the lower lip in, which is the latest, the lightest plane facing the light most directly, and it's a bit like a light pinkish color, so we're just getting the forms and getting the planes in for each feature in the um chin. There is that later top plane. There's a plane where it's warmer and darker as it rounds towards the shadow. INGE, I'm just doing this with some additional transparent red oxide mixed into the base flush color and jumping back up to the I. I wanted to refine the shape of this, which is a shadow, just a little cool shadow and get the tear duct in the tear duct is an area that has a little bit of, ah, red, no to it. And it's a nice place to get a little pop of color. It gives it some life. So next time given describe, how did you find the features? More. But bring your painting up to this stage, really focusing on three different tones for each feature to describe each plane and look for a color shift for each plane of the beach 9. Essential Skills: Most Common Mistakes: so there are certain mistakes that people make, especially in the beginning, and we make the same mistakes over and over. So it's good to keep track of your mistakes and stop making them. And also watch for some of these most common mistakes and consciously sort of avoid making them too. So the 1st 1 is painting with the form, so there's a tendency when you're applying the paint to want a paint it in following the form following the shape of the Enge. It's the easiest way to apply paint, and sometimes I'll even like do that initially where I paint it with the form. But then what you want to do is afterwards paint across the form and sort of wiggle across the form. Um, you might even preferably, actually like if you paint across the form as you're putting Indian, that's even better. So watch for the way that I'm applying the paint in the demos and you'll notice that I'm really painting across the form, and that's really important. It's one of the ones that I see. My students who worked with me for a little while start to get the hang of and it makes such a huge impact on their work. It just totally skyrocket. Kids it to the next level. And it's something concrete that you can start doing today. So focus on painting across the form instead of with the form with the shape of the edge and again across the form is like perpendicular to the shape of the edge. Basically, um, the other most common mistake is to make the edges to sharp. So having edges that look like cut out like way too sharp is really common, and it really flattens out the form and takes away from the high level of quality finish that you want. So instead, what I'll do is I'll do this little leg wiggle stroke. Very fine. Little side to side wiggle stroke where you can just make the paint of both sides believe together just a little side. So I call this the wiggle stroke. Actually, my students invented that word, and so it just gives it a little bit of a softer edged instead of having the cutout edges, which is the most common mistake, Um, also, there's a tendency to get indirect lighting having an indirect light and shadow side so the way that we work the way that we've established the under painting and moved to color, we're really making sure to have a clarity to the light side and the shadow side. And that's really important over doing it with the highlights can be another most common mistake. Moving into them too soon. Doing like a big crazy highlight, like through the lips or, you know, something too soon and too light and too fast, so kind of careful, with the highlight still overdue with the highlights. Also, having opaque shadows could be problematic. You wanna have the lights more built up and more textural and have I mix more oil? And when I do the shadows so that they're a little bit more transparent than the lights, oversaturated colors is a big one. We've talked about de saturating. The color and flesh tone is kind of like an orangish color, but it's de saturated. So look to not have, like, really garish, really bright colors all over your whole painting on Ben. Yeah, having a new overstated reflected light of another super common one. So there's like the little bit of light bouncing into the shadows that comes in from the environment. But what people often do is they'll get really excited about reflected light in the beginning, and they'll make the reflected light way too light to the point where it actually competes with the lighting and shadow pattern. And it will be a slight is something in the light side. So watch for that. When I get into the demo and really think about understating your reflected light, making the whites of the eyes to white is definitely a big one. It can make the eyes look really like crazy. So the I is that the same tone as the skin around it. It's just a little bit cooler, but really make sure you're not making it too bright and too white and also sort of along that note with the eyes. You don't want to have the eyes to outlining, Um, as they move into the demo of the ill really show you how to really use the construction that will be talked about in the handouts, which watch before you move to the final rendering of the features. But people will sometimes make it to outline the following that and not getting like the form of Theo I I instead So don't make the I to outlining ultimo make the lip to outlining the lips have soft edges all the way around, totally lost, and here, and the only sharp edges really through the center line of the lips. So I think that will really help with all of your paintings. Keeping these most frequent mistakes in mind and just not doing them any more will take your work to the next level. 10. Essential Skills: Glazing Lesson: squeezing is a technique that I really love and a lot of artists buildup, glazing in their mind and think it's this complex really hard to do thing. But it's actually really easy. It makes adjusting the colors really simple, and it's fun to dio. And yet it's really easy. So I'm gonna use this to demonstrate it glaze on, and I'm just going to show you how you can bring, like a red and just sort of adjusted color while still seeing the form since glow through. So what you do is you mix up a color. You can use any color. In this case. I'm going to use some red, and you just makes a lot of oil into it so that it's really oily and it's really translucent. And then you can just bring some of that into your painting and you can see how, with the glaze, you can actually see the original painting kind of glow through, and you just get the adjusted color while still senior initial form since show through and if you want, you could even like, take some excess off, rub the edges, make it subtle, but you can see you can still see the light side in the shadow side, you can see the edge of the form, and you've just brought in like a warmer sense to the whole thing. So sometimes we'll use this to just like the color of the whole thing. Say they come to a portrait at the next day and it looks really pink or really purple or something I might do like a orange or yellow car glaze over the whole thing. Just really lightly or get. I might like glaze in a little bit more, read into the lips or, you know, whatever it is that needs to be done, you can do it sometimes with a glaze. Careful that you don't use like too much oil, or it might start to drip down the surface of the painting. And a lot of the time after I've done a glaze also at the end of the day, like take it and lay it flat and let it dry like that so that you don't get it running down the surface. But yeah, that's all it is. You just add extra oil. It creates a glaze, and it's really fun to use, and I hope that you enjoy it 11. Describing the Planes: as they move forward color, we're going to start described the planes that sit on the big form. And so we're gonna be looking for the different color, a different tone for each plane. There's like a lighter top face and plain. The front plane will be a different color, and the side plane will be another and another tone. So really looking at the different planes that sit on the big form. And I'm using medium to science brushes as we move forward. So you've got this medium size bright brush. I've got my 3/4 inch greener. Can you this fairly large brush? Okay, so let's start with the forehead and before had basically got a soul top playing here that I got the front plane of the forehead and I want to refine my painting a bit to have more clarity between the break between the top plane and the front plane. I think the top plan of the forehead is a little bit darker than the letter notes of the front plane, and so I'm just bringing with slightly different, darker tone in I'm gonna airplane stroke across that to give kind of a hair like really soft and and then we shift to the front plane and I'm gonna go a little lighter and a little cooler. Remember, the lightest lights are slightly on the cool side. I'm using some titanium white, some base flesh colored, a teeny tiny bit of gray and maybe a bit more white just getting some of the later. The later front planes could occur in beforehand. And then there's a plane change to where this side, you know. So I planted the forehead, starts around in, and so I got this lighter front plane, got a slightly darker side plain and got kind of a middle other side. So I would say the plane on the left is the darkest on the forehead to write this middle. So this really kind of studying that looking for the different planes will help you bring Justin accuracy to the description of the different planes with the cheeks and gonna mix a little bit more cad Red cat red light into my base, crushed home, just moving into a slightly pink your local color and God, the top plane of the cheeks all mix a little white and a little gray into that color again because the lights are slightly cool. So getting that later top playing and then moving to slightly less light get back into the side. It's also getting a little cooler, as it was like over to left, so the color that I had initially was just slightly slightly too saturated. It's mixing a little more gray in just to de saturate that which is that that sense of going back into space, then transitioning into the front plane of the cheek. We've got kind of a pinky color that mixes in. I'm using the wiggle stroke to sort of let it blends together at that transition, and then it just wraps into about what color already caught. So I'll just soften the edge there, and actually, maybe we'll go a little darker for lower front playing cheek. So I wanted to just round gradually into that slightly darker still needs to be a good darker, so with color. The thing to do is put down your best shot at the color, realized that it won't necessarily. It also won't be great right from the start, and then you look at it and dragged it. Based on is that the right color isn't the right tones of great lightness and darkness. And is it the right saturation? So right now I've got it. Almost, um it feels a little too dark, so I'm gonna lighten up slightly feels so it's yes, comforting to realize that you won't makes the exact right color right from the start. And if you know if you do, it doesn't mean that you're bad color or anything like that. It's just part of the natural process. And right now, actually, this is feeling a little too purple E So I'm gonna bring something with a bit more yellow joker into that. And then there's a side plane of the nose. I'm already sensing the side playing of the nose. It's a little darker little cooler through here. I think the only place where I could refine that a little bit more is just this connection Where the note was inserts kind of a friend of the I hear there's a little bit of a suggestion of the bone in the nose. The bone structure of the skull that describes the eye socket was coming there and then continuing down the face. We've got the later top playing to the mouth muscles that already looks to be pretty well described. The gym could use a little bit word description. I think that there's a broader, suddenly broader band of shadow that comes up onto the Kim Jim. Um, it could be a tricky because it's so subtle. I'm gonna just move to a smaller and yet so rounded that transitions air. So So it's hard to perceive. I think it's one of the hardest features, and so that's obviously to cool. So I'm mixing a little bit of warm sort of brands and yellows into this. I wanted to be a little bit cool cause it's that transition. The important place for the light meets the show. But I don't want to be screamingly cool. And I think I learned this in this will work Well, it sometimes looks a little strong in the beginning, and so I'm using a subtle little little stroke as they go, which is giving it a soft. I'm really focusing on this operated first and then I'm gonna refine lower, and with that stroke, Curtis it plenty and then the lights, like the light side here, is just a little darker than what I had do. They settle like connection between a midtown light that wraps. Hearing connects to the shadow underneath Shin here, and there's also a little bit of a sense of the darkening and warming as the light side rounds over to the shadow side. So that's were preparing the lights as they round into the showman's again with a very subtle little stroke. And then I'm likely wiggling across the whole thing to creates. Just have a really soft, subtle adjustments. There is a slightly lighter top plane to chin, and there's a little bit of a darker front plane. So thinking about the direction with planes face finding goes, and then at the bottom of the cheeks, the mouth muscle kind of comes out. We get a transition from the undercut playing of the cheeks into this later plane of the mouth muscles coming out, and so you'll often get a little definition here later, plain. And when you do one thing to one side, you want to check how it's occurring on the other side, and there is a little bit of a later definition here, just cries that muscle, and I think I can even go one notch later with top plane to, and I think the fun playing on the nose could be a little more different. Cheated from the side, please to warmer, and it sort of just slightly later. Noses and ears and finger tips and things that stick out are often a little bit warm. So there's a slight pickiness knows and then moving into the neck, the neck comes up out of the color, bullets like angle coming out. And so there's basically a from playing and then chest pains of the plane change there, and I already sort of have it. I think we could just go a little bit into the into the neck muscles here, So the chance planes a little lighter, and I'm using the base flesh color mixed with a bit of white and just a little bit of gray . And I'll just bring in that slightly later, playing for the chest so they know what the direction that plane faces could really help you in the decision making process, carving out a slightly sharper edge from clothing and it gets a little darker that moves back here, gets a little Pinker as it moves into the center of the chance, which I've already got. I'm just gonna make a gradual transitions, and there's also a certain lightness over here and then in the neck there's there's already a darker front plane established, and I'll just go into the slightly cooler, slightly later forms of the muscles of the neck. I'm using a soft touch with this airplane strokes to describe it and keeping the tonal shift really beautiful. So you don't wanna have too much total contrast in the description of these neck muscles, the neck and collarbone, this really soft and subtle. And you, whenever we get that subtlety, there's a little layer band where the shoulder then and I'm painting across the forms or wiggling the paint on. If this is like the line of the forming, with the form go perpendicular to that is painting across the floor. So I apply the painting focusing on that, and I bring a little bit of a cooler, slightly bluish gray, no into this and into the back shoulder to there's a little bit of a lightness to the front plane. We've already got a slightly darker, darker, richer top play and so smokes with front plane that I'm just How does it moves down away from the light source? It does get darker, which already have. And I just wiggle at the edge to have a soft transition, maybe a little bit more of this color down here. So that shows you how I would define the different planes of the face and the figure really looking to establish different tones in different temperatures. Reach plain and we're gonna keep that in mind as solution, find peaches. 12. Refining the Eyes: so make sure you watch the segment where we go over the construction of the features. And now I'm gonna show you how it would take that overall structure and apply it to the painting of the forms looking at the I first. So I'm going to start with the center of interest. I It's really important when you're painting a portrait to choose one I which will be your center of interest so you won't render both of them to the same high level of finish. You choose one and have that on the higher contrast and have the highest level of finish. So I'm going to start with my center interest. I I'm going to start by restating the lines of the I that follows the construction that I talked to it in the handouts and I'm using a warm, dark color. So I've got some Eliza and permanent and some brown, some of the base shadow color brown. And I'm just going to restate this line of the I to the three angled straight lines that make up the crease of the eye. Starting a little bit linear, I'll go into the line of the upper eyelid which is also the eyelashes and just restate that line with a darker Um, this is more of a black ish type of color. It actually basically is black. And then I just pulled down from there to kind of create the connection between the top of the iris that cast shadow that I talked about in the handouts and connected to the line of the lashes. And then the white of the eye is whiter on this side, cause the light source is coming this way and a little bit darker on the left. So I want to get that definition, the description of the tone here, which is a little darker, and this is about as white as I would go. It's like a gray and bringing and just like even a little bit darker, just towards the top of that I there. That's the cath shadow of the I live being cast onto the I and then going into the iris. I've got hazel eyes, so care brownish, maybe slightly greenish in parts and the color part of the I actually shows in the bottom part of the eye because the top part of the iris is being obscured by that cast shadow. So we see the most colored part in the bottom part. And actually it's the bottom part opposite the light source. So I'm actually gonna dark and ever so slightly and d saturates slightly more here so that we see the strongest hint of color showing on the bottom part of the iris opposite the direction of lights. Worse, Durkin in the Black Pupil more, the edge of the iris is slightly darker than the center, so I'm just gonna wiggle in wiggling to keep the edge soft, a little bit of a darker note at the edge, and you can use the back of your brush to scratch to soften the end even more if you need to. And then we've got that light rim of thickness that describes the top shelf of the lower island, so that's too light. So I'm gonna go a little darker. You wanted to be lighter than the stuff surrounding it, but not screamingly light, and it's a little pinkish as well, and that's still a bit too light. So mixing a bit more brown and a bit more red in there so you can see that it's still reading as a lighter top plane, but it's not like super bright with the lower eyelid. There's that front facing plane of the Lower Island, and you can look at having three tones for that. So continuing to work with the idea of describing three tones. So the three plane directions. So we've got a lighter tone on this side of middle tone, through the center, in the darkest tone to the left. So as I refined the features, I'm gonna be thinking about the planes, and I've already kind of got those three tones established in this. I think what needs to happen is that the transition just get softened a little bit. So I'm just wiggling across the edge to just softened transition a little bit, and you can use your finger if you need to his will and then here to just below the front plane of the I. There is a little bit of a darker, a little bit of a cooler note. Bringing that in there is a bit more of a connection, sort of ah, line that connects that side plane into a little line underneath the eye. The side plane of the eye here becomes what's called a lost edge, where you really can't see the corner of that I It just all goes into the dark shadow. So losing that edge, maybe going a little even darker still, and then I'll take the back of my brush into scratch across it to make it a soft. And the tear duct has a red nous to it. And I've already got that, actually. And, um, we can also describe the different tones of the upper eyelid, the different planes. There's a lighter, cooler plane through the center, kind of, ah, highlight getting picked up middle signed plane. And then we've got the darkest left side plane and the speculator light, which is that white dot in the eye. I'm gonna dip it into the white and pull in such a way that there's this dangly like piece sticking off just dangling off the tip. And I'm gonna take that and just carefully place it right where the light source is shining . So, basically, if the light source is coming this way right where the pupil meets the iris, I'm gonna It was carefully place that little dot and it's gonna be a sharp, bright little speculate highlight right there. And I'm also gonna take this grain or brush. I've got my 1/4 grain or brush get some extra oil, gets, um, black, make it nice and oily so that it really could make fluid strokes. And I'm gonna carefully just bring in the suggestion. Oh, so eyelashes, starting with it on the line where the lashes most, um, the paints fully there and then curling and pulling are they come off to sort of create some subtle eyelashes. So it's just a soft I lashed suggestion, maybe one over here, and they're not big. And, you know, it's just a subtle sort of an eyelash suggestion. You don't want to go too crazy with the lashes, but just a little suggestion of it could be really nice. I think the last thing is that with this greener brush, I'm gonna wiggle along the top edge of this line, which is the crease of the I, so that I'm creating the sense that the top edge of this line softens into the color above it. And the bottom edge of that line is sharp, which will make it less of a line and more of a description of the forms, so it feels more like just the form of the crease of the I, rather than it feeling really linear. Maybe the last thing with that I is that I'll bring a little bit of some lights that are picking up in the front of the tear duct here, and we can also refine the color above it. It just has a slightly lighter color in the center of this light. 13. Refining the Eyes (continued): and then moving to the other I as I move forward, I want to just have less contrast. In that I I'm going to start with sort of cool form of this upper eyelid looking again for the plane changes. So it gets a little darker as it rolls towards the left kind of tucks into the shadow side over there. It also gets a little darker that rolls to the right. I can carry the weight of the eye on this, I up a little higher. Next, I'm gonna go into the little bit of light, had the tear duct and also that later shelf to the top of the the lower lid and then describing the lower lid. It's like this I, the white of the eye, rolls back and gets really dark in that back corner. So I'm gonna bring a darker sort of a vertical note in there, and I'm gonna wiggle across the left edge of it to make it blend into the white of the eye so that the white of the eye is basically getting darker, darker, darker, all the way up to that little dark line there, and I'll bring a little bit of a darker edged to the front plane of the lower Island and in the iris. I'm gonna cut on the pupil more of the iris color again. The iris gets darker as it moves towards the top fine of the upper eyelid, redefining the lower island here. And then I'm gonna work around the edge of the iris, bringing just that settler very subtle, very soft edged, darker note that occurs around the edge of the iris. Gonna scratch with the back of my brush on some of the places where colors are meeting so that it's all just happening in a soft way, getting that cast shadow on the top of the iris. That's really important. It's one of the things that we don't see that clearly, but knowing that it's there will help you to put it in. And then it'll look right. And there's the gray of the eye, the white of the eyes showing that I need to get in here and keeping it nice and dark. And actually, the shape of the white of the eye cuts a little bit this way, and I can get away with putting a slightly lighter white of the eye right here, but it's still pretty dark right now. There's a bit of an outline showing through. If you can see that, I'm gonna cover that. There's no riel line on the bottom edge, little lighter there, and I think it's well set up for the eyelashes. So I'm gonna take that oily black color and just do a couple curling airplanes strokes to create the soft edge put, suggest the eyelashes and then the speculum highlight on that. I I'm going to make it a little bit darker than the first I because you want the center of interest. I don't have the highest contrast. So this is a little bit of a grayish white, and I think, lastly, oldest dark and the red in the tear duct just a little bit so that we can see that triangular shape of it there and from the eyes will just move into the area surrounding the I. I think I'll just refine this a little bit, going to refine the color of this little band of flesh showing back here could be a little darker, a little cooler. Actually, I can hold. So go in with the eyelash. There's a shape that overlaps right there. But the eyelash. And I think I also bring a slightly lighter front plane here and make a softer transition into the shape that showing here, which is describing the eye socket. The greener brush is really good for doing eyebrows. It'll create a nice soft, you know, hair like stroke so you could do a couple strokes like that. And that basically shows you, however, refined the eyes. So take your painting up to that level, get the eyes in, and next we're gonna move to the nose and both. 14. Refining Nose & Mouth: way, refined the eyes and we're going to move to the mouth and no is next. At this stage, you should have watched the section on constructing the features where I described the handouts and detail. And as we move forward, I'm gonna show you how to bring that into the painted form sense of the nose and mouth. So let's start by redefining the center line of the most, and I'm gonna use a transparent rid. I'm using a lizard permanent mix of teeny bit of black. And as you can see, it's a really warm, pretty dark color and really transparent. So the mouth is a nice place to have a nice sort of punch of color, and this center of the mouth could be one of the sharper edges. So I'm just starting by refining that it's nice and warm, really transparent. I'm gonna soften by wiggling along the bottom edge of that line so that it creates a little bit of, ah, feel that the lower lip is darkening and warming in to the center line. I've got the apex, that little point here, right? Sort of in the center alignment, and I like the color that I've got the upper lip blocked in, and basically, I think, as the upper lip arounds up, it gets a teeny bit later and a teeny bit more kind of pinkie less purple e. So I'll just wiggle along that edge there, wiggling to create a nice soft edge. You want all the edges of the lips to be really soft way softer than you think. Often I'll go back and re soften the edges even one more time after the point where they seem kind of soft, really soft edges to the lips. That's actually also put some based flesh color above that. And then I'm gonna use my brush. The bathroom. I brushed it a. Scratch it to sort of create an even softer edge so you can see that you can still feel the direction of the line there. But it's happening in a really soft edged way and the lower lip as it rolls into that center line. It's getting a little darker, a little warmer and just going into that. So we're thinking about the planes as we define these features as removed the bat corners of the mouth. I'm moving into more like black or even a little bit of blue, maybe even a little bit of grey Blackie Bluey, great and stating the line with that cooler note, and it just sort of turns from lips into muscle tuck at the corners of the most. I wiped my brush off to get the excess paint off. And now, with a clean, dry brush, I'm just wiggling along that and to create a really lost edge. We're going some more along that edge. I'm just sort of refining the shape of it. And and then on the lower lip as the most rounds down, there's a plane change from the top plane to the front plane, and it gets a little darker and a little warmer as it rolls down. It is surrounding it down to that shadow underneath it, and there is a highlight cutting through the most there. I'm gonna also bring a little bit of a light into this area, great beside the most. That muscle is like turning to be more top plane facing, and then I just wiggle right through. There's no line at the edge of the lips. I'm just letting it all. How this continuity where it connects to the lower lip and I'll bring a little bit more of the red further out. So will. And on the other side to there's a little bit of, ah, higher up, slightly lighter tone right in here. Here I'm making sure that this later tone is staying in from the edge so that we still maintain that darkening towards the edge, big for modeling and then moving into the nose. We've got the form shadow. That's really important. I think the side plane of the nose could be a little lighter. It's warm, but not quite as dark. And I want to. I just I'm just gonna put a statement of the whole front plane of the nose in just in one mark, actually crossing over a bit into this side plane of the nose, sort of almost line, but letting it just all blend together. It's a common thing to put a line here and really notice how soft and subtle and lost that edges. And there's a little bit more of a light carried up through here, which actually suggests the fact that the nose inserts into skull just above the tear duct . So I need to just raise that place where it feels like the nose is inserting into the skull . Raise it up a little bit and you can see that I'm still painting across the form. I'm always painting across the form, and then I'll just bring that light that comes down where the front plane of the nose connects to the side plane and the speculum highlight on the ball of the nose. And let's just soften that transition but bringing a slightly mid tone color and just dabbing it across what I have put down so that we're not overstating the highlights, and I think that it also it kind of transitions a little bit gradually into that front plane. So I'm bringing a mid tone to connect to creating a bit of a connection. Let's work the edge where the light meets the shadow, where the light side meets the form shadow just for wiggle that that's a really soft transition. The more rounded a form is this softer that, you know, more gradual. That transition will be, and the nose is really soft and round, so happens really gradually. That's part of why we actually have a hard time seeing this form shadow sometimes because it's got such a soft edge. We're seeing a little bit of the nostril at the back, and there's a very subtle sense of it having a later top plane. So I just got into that. And then when I stayed the lines of the nostrils, well, first, I'm gonna actually lightly brush over what I've got to just lighten it. A shade. Let's make it all the unified, a little bit more. And then I'm gonna state the darker line on top. And I'm using a really warm, dark color. Same light, same as I used for the center line of the most, and I'll put it in as two angled straight lines. This one's kind of an angle this way. Pull down a little bit and it's warm. It's a really rich, warm color, so it's nice to have the colors of the face mostly sort of de saturated, and then have certain areas of punch to the color and the lips and the nostrils are a good place to do that just refining this a little bit. I wanted to have a bit of a darker, cooler color. The back corner of that Most they're so the very last stages air often just like edges, judging edges, financing hair and adding a little bit of reflected light. So we're gonna do that in the final stage, and we're almost done. 15. Finishing Touches: Well, congratulations on making it this far. You're just about done a lot of the time. It's hard to know how to decide when a paintings finished, and I find that looking at the edge quality is a good place to finish. So I'm gonna show you how I would refine the edges looking for soft edges especially, and also refined the hair and get a little bit of reflected light in there. So with the hair, first, I'm gonna be using this 3/4 inch Graner, and I'm gonna get a lot of oil. I always use a lot of oil when I'm using the greener so that the strokes flow really fluidly. And I'm mixing just a brownish color with the base shadow color, some transparent red oxide. And I'm actually just gonna start by knocking back the highlights just a little bit so that I can lighten into them after some kind of setting it up for the next stage by darkening it down a little bit first. And I'm using airplanes stroke, using the texture of the brush to create a hair like texture. So the airplane strokes starting where the colors fully there and lifting and pulling as I go to get that textured feel and doing big broad strokes and twisting the brush as I go. So I wanted to create wedge like shapes like triangles. So if this is the top of the ear, I'm gonna kind of figure out how I could make the shape that comes up above it like a wedge shape and then also defined kind of below the ear, the bottom edge, and then pull down from there. And so you're looking to have the definition where the light meets the shadow Be kind of zigzag e So not like line, line line, but kind of this zigzag e kind of shape darkening the ear and a little bit we see a little light rim of the top edge of the ear. But the ear is mostly pretty dark. And you want to watch that the ear should be dark and really setting into the shadow side. And then I think next I can start to go into the reflected light in the hair. So using some Verdean green, some cobalt blue, some white and a lot of oil, I'm gonna create that turquoise sea color. Which of coming in and I'll mix it into a bit of the base hair color, so it's not screamingly turquoise. It'll still look pretty turquoise, but it won't be too strong. And let's just do a dab to see what it looks like that looks like it could work. I'm gonna makes a bit more based shadow color in and there. So it's still having the kind of zigzagging, interweaving shapes describing the locks of the hair, bringing in the lightest light. As you can see, it's a zigzag that just runs along the whole plane. Change in the hair where the top plane is meeting the side plane, and it's got some variety to it. It's thick and thin and just varied right where the light meets the face. You can have that be like a really lost edge, and you can also wiggle a slight cool note in just talking. What edges along where the face meets the hair. We're like the face meets. The hair is always a really soft edge, so make sure you softened that kind of like the most. I, like, soften it and then soften it again and then soften it again. You wanted to be like, really soft. There's a little cool coming into the side plane of the neck here, and there's a very subtle, warm, reflected light showing in the shadow side. And this is one of the cases where you want to make sure you put it in. See, that's a way to light. You want to make sure that you put it in really dark and really understated, and that might still be too light. So I'm darkening it with some transparently and oxide and some base shadow color. I wanted to be super subtle. It's just enough that it gives a little definition to where the edge of the faces. But it just really sits into the shadow side. And this is the area where people will often make the reflected light too light and too strong, and it'll actually compete with the shadow pattern and actually start to merge with the lights of the face and literally plasticky and weird with the mouth. We've been keeping the edges soft as we're going, and I'm gonna just keep softening more and more. It's almost like with the most you soften the edges than you soften them again and then you soften them again. And with this back corner of the most, we're basically going from the warm center of the most to a slightly cooler sort of grey green note at the back corner of the mouth. And, yeah, it's just a really lost edge. So it's gonna take a little bit of niggling around to get it soft enough and to get that transition from the the warm center of the most to the cool back corner of the most to just be subtle on Gradual and lost. And I'm doing, I'm scratching with my fingernail there, and I'm doing strokes that are kind of going across the form. So nothing that's going with the form of the lip and I'm also looking at the overall shape of the lip, and there is a certain sense of a continuous curve coming through here and then down to that muscle talk at the back of the mouth. So it's just really subtle stuff. Um, it's like it gets a little darker right in here, which also helps it just get really lost weaken. Just hardly see anything in here against just really subtle. And then, with this shadow underneath the most. What you want to watch is that you don't have this shadow underneath the month pulling too far over that way that can start toe change the expression, make the lower lip look like it's popping outwards. So I just make sure that it's really kind of. The darkest part is localized in the centre rate underneath the lower lips, sort of the center of it, and it gradually transitions and a really soft edged away again through the side. Here and again, it just takes a little bit. To get it as soft and subtle is a trend of a transition as he want. Sometimes I rub it with my finger to sort of pulling a mid tone note over the place where it transitions. And even this shadow here is almost like a little bit too sudden. Everything in the most needs to be really soft and subtle, Um, so I'm making that even a little softer and subtler. Back here is well, the most like really relates to the muscles around the mouth as you're seeing. So getting the most accurate isn't about getting just the shape of the lips accurate. It's about getting the relationship in this muscle area and even into the chin. Accurate. I'm soft and subtle, really making sure that there's no edge to the lower lip around here. It's just totally lost through that center and pulling the slightest lighter note along the turn at the top of the lips, Really painting that in little dabs going across the form like this rather than painting it lake following the shape of the edge and keeping it a little less light than what one might think. There's a tendency to overstate this light, and actually, it suddenly has changed the shape of this peak at the top lip here. So I'm just gonna carved that back very subtly there. And there's a little bit more light carrying forward here as well. Okay, so that's the finishing touches of the lips. Now I'm gonna move to the hair and just add some final touches through the hair. And so, with the hair, I'm gonna use, uh, Graner brush again with a cool color. It's like the base shadow color with some cobalt. Or you could use civilian. And I'm just gonna bring out the reflected light. The cool reflected light just a little bit more. Oops, that's a bit strong. Let's take that off. And there's a certain curving shape through here. The color that I've got on my brush is cool and it's pretty dark, so it's still fitting within the framework of it being part of the shadow side. So you really want to make sure that you don't get to light it. ISS standing out like we do see it. It's not so dark that we don't, you know, see the shift into the reflected light. But it's still pretty dark. The results so a little bit more of an actual dark, describing where the ear kind of the hair opens up into the ear. So in these final stages, we want to start to really hit the full level of contrast, hitting the darkest darks and the hair hitting, you know, the slightly later reflected light in the shadows. Um, if there's any areas that you haven't got the lightest notes in in the face, you'll want to do that, too, and I'm using strokes that are going with the form in the case of the hair so that the sort of shape of the stroke describes hair that's a bit too light, and I'm going to go a little bit into the part at the top of the head to I want to keep that really settle so just it's a It's a darkish color. It's kind of like the base flesh color, but it's a little bit darker, and I'm using my Graner brush to just go along so that the edge here has a slight, brushy sort of stroke, which sort of resembles like hair. And just like with the most, the hair is a case where you want to soften the edges, specter the hairline and then soften it again and then soft moving in. So really softening. And I'm doing strokes that are going this way, kind of mimicking the way the hair grows out of the head. So we'll get thes slight little grain or brush strokes right along. You know where the hairline is starting and it just suddenly it's very subtle. It's really soft, but it just suddenly suggests the hair, the direction of hair growing out and and also it's cutting in just a little bit on my particular forehead, which I think felt just slightly too large so that might not be the case with your painting , but it is the case of this particular one bringing it again. The darkest, dark hitting, hitting the darkest darks thes aren't pure black. This is like black, with some brown with some red. But it's pretty dark. Oh, also do some little hair like strokes along where the hair is meeting the face here just to get that hair like texture. It makes a softer edge, and it gets, like, sort of sense of the texture of hair. You can even use your fingernail to scratch lines, you know, hair like lines. So that looks pretty good. Maybe there's a little bit of, ah, cool highlight coming along this bend in this form of the hair, too, which we'll just put in with my Graner brush again, going along with the form so that you can see the texture of the line of the strokes. And right here. Do you see how I'm letting, like the light cool fully connect to the face, you know, all the way. So there's not like a little dark line at the edge of the hair. This form slowly wraps right into the face, and that helps soften the edge of the hair more to. And you can see the same thing happening on this side. Yeah, and so I'm pretty happy with the hair. And I think lastly, I'm just going to go into some details just around this. I just the eyebrow a little bit to the shape of the I. So with this eyebrow, I think it just could actually come up just ever so slightly more. Just a little bit of an angle using the greater brush. Still to get that texture, hair like texture that the Graner brush is so good at. And then the form of the sock it that I like the part just underneath the eyebrow that's forming the eye socket. It goes from leg light here to a little bit darker. So I'm just gonna work into that a little bit more, just making it ever so slightly darker in here and a little higher up the back corner getting that angle to the eyebrow. So, really look at with the eyebrows, the angles that they come in at, it's pretty common to have the eyebrow, even if you think you've, like, done it at an angle. The effect can often look just like a generic curve, so kind of triple check that. It looks like it's capturing the angle accurately. And I've crossed over this crease just a little bit. So I'm gonna restate that I'll increase and with this area right here, where it turns from eyebrow to shadow, you know, in the eye socket Teoh downward turning plain between the eyebrows, the foreheads facing this way. This forms turning inwards a little bit and we've got all of those motions happening. I think the only last thing I need to do is bring a little bit of a darker tone right up next to the eyebrows, which will help this kind of curve down a little bit more softly. And what I put in is just a bit too dark. So I'm making it a bit more subtle, and then that will be fine. I've made a little bit of ah adjustment to that. I crease and I think going to just pull some eyelash texture there a little bit stronger over the bag here. A little bit more eyelash texture coming up here. They're so I think the paintings done now, And I hope you've really enjoyed seeing me put the finishing touches on the painting and just establishing that surface quality to the final painting. And remember that it's really a process to learn how to paint the portrait in oils so you can watch it and re watch the videos each time something Newell, stand out and you'll just deepen and deepen your practice as you go. So enjoy the course again them again and thank you for joining me.