Figuring Abstractly: How to Paint an Abstract Figure with Acrylic Paint

1. 001 Welcome Video: Hi, this is Donna Weathers and welcome to my Figuring Abstractly course. I created this course because I couldn't find a way to paint figures the way that I wanted to paint them. That's what this course is for. Welcome to my class and I hope that you get a lot out of it and paint some beautiful figures when you're finished. 2. 002 Stay Wet Palette: For a palette, what I use a 12 16 plastic tray. You line it with paper towels and these are my favorite paper towels. This is what I use when I'm painting. These are just towels. You can put the whole, you can put two in there if you want, but this is basically a stay wet, pale usually has a sponge right here. Instead of the sponge, you have your blue paper towel. And then you can use tracing paper. But what is I use these parchment sheets because I'm a little aggressive when I'm painting and mixing up my paint. The tracing paper keeps tearing up on me, but the parchment paper does not. You can buy these sheets or you can buy the rolls and just put the size that you want right on there and just cut it. And then what you're going to do is you're just going to take some water and you're going to pour it before you put parchment paper down, you're going to pour some water over your blue paper towel, and then you're going to pour off all the excess. And then once you pour off all the excess, you will put down your parchment paper on top and then this will be your mixing surface. 3. 003 Notanizer: These are the apps that I'm going to use. The first one that we're going to use is No Tenizer. I'm going to click on that and it comes up with this photo that you've used the last time. But I'm not going to use that photo because I want to show you how to do it. I'm going to pull up one of the photos in an album that I've set aside specifically for this class, and I'm going to go with this one. This is how it looks when it comes up. But that's not how I want it. I'm going to click on the three level, then I'm going to use these slider bars down at the bottom to adjust the darks and grays and lights until I get the figure the way I want it. That's too much. I'm going to bring it back. It's going to bring some more of the dark in. I don't want so much dark. I'm going to go mostly with whites and gray. Just a little bit of dark. It's just a personal preference. You can go much darker if that's what you really like. A looks good to me. I'm going to save it to my ipad by clicking on the little box in the far right at the bottom. And that will save it to my photos. And that's all there is to it. 4. 004 Oil Shine: The next app I'm going to use is Oil Shine. It's Oil Shine Pro. The reason I use Oil Shine Pro is because you can change the filter size and you'll see why I prefer to have that control. I'm going to open the app. I'm going to ignore that. I'm going to click that little folder icon at the bottom right, and I'm going to say new from photo album. I'm going to say no here because this is from a previous demonstration that I was doing. I need to click on it again. I want to say new from Photo Album To go to my photos that are on my ipad. Now I'm going to pull up the photo that I created using no tanizerow. I'm going to pinch the screen to fill the screen with the entire image. I just do that so I can see the whole thing. The next thing I'm going to do is I'm going to click where it says filter down at the bottom left. That's going to give me the brush size. It's going to default to 60. I'll show you what that looks like. We're not going to use that in this class, but it could make a cool looking painting. It's very distorted and you can't see any of the features. It'll take just a few seconds before it's finished. That's not enough details. I'm going to click on Filter again. I'm going to bring that little slider down. I'm going to try 31, and I'm going to click on Start. Now that looks pretty good, but I'm going to bring it down, down to about 21. And that gives me the details that I want. I want some in her face. I can see shadows around her legs and her side and on the back of her arms. I've got more variation there. Now what I'm going to do is I'm going to save this to my album. Just this is just my photo album, my ipad, and then that's all there is to that. 5. 005 Print to Size: Now the next app is print to size. Now I'm going to open up this app. It's going to default to the last thing that I tried to print. I'm going to clear that out by pressing the gear icon down at the bottom left. Clear the page so that I can demonstrate to you how to add the photo in there and get the right size. Now I just want to show you the different sizes that you don't have to print on letter size. You can print on eight by ten tabloid, all different kinds of sizes, whatever size of paper that you want to print on, legal size. But I'm going to print on letter size because that's what I have in my printer right now. And I'm going to click done. Now, the next thing I'm going to do is I'm going to load up the photo. I'm going to pull up my recent photos, and I'm going to pick the photo that I just manipulated using the other two apps. Now the next thing I'm going to do is I'm going to make this image five by seven. And I'm choosing five by seven because that's the painting size that I'm going to be painting. I'm going to move it up here and I'm going to drag that little blue circle down until I get it to seven. Then I'm going to bring the sides in so that I can get it to five. I want each side to have not exactly the same amount, just compositionally, it works a little bit better. And there's my five by seven. I'm going to put it over here in the corner, it's ready to print. The next thing I'm going to do is I'm going to click on that little icon that looks like a printer that is going to pull up my print options and it's defaulting to my printer. Yours should pick up whatever printer is on your network. Now you just click on print. 6. 006 Color Wheel App Demonstration: This is the color. Will I mentioned in the supply list, This is the app version. How this works is you start by picking a dominant color. And this is going to show you the other stuff. I'm going to demonstrate that now I'm picking green. You can see how this works there. You've got your two spice colors, red, yellow, and purple, blue. The focal point is purple, red. I'm going to click on his example and just show you how it looks in the artwork. You can see the dominant green area all around there. The focal point is the purple red, magenta area under the checkerboard looking collage. Then we have the purple blue, that's those little splotches that you see on top of that magenta. And then the red yellow over on the right side. I'm going to go back, I'm going to use the back button. I'm going to choose another one. This time I'm let me scroll through these paintings and see which one I want to use. I'm going to go with the purple red. The dominant color is the purple red. The focal point is green, the spices are blue and yellow. I'm going to click on his example again, so that you can see how he did it. In this particular painting, there's the dominant, the dominant color, purple, red. The focal point is that little green blob over there on the left side. The spices are blue and yellow. I see the yellow and the blue is just barely visible. But it's also in that bigger splotchy area to the right. I'm going to hit the reset button. This one I'm going to go, let's see, I'm going to go with the green yellow as the dominant and purple focal spice one and spice two are red and blue. Keep in mind he is mixing in white and black. A lot of the times, especially when you're using the dominant color, green has a little bit of white in it. And you can see that area right there where the green has some white mixed in. Over there in the far right side here, we've got the green yellow. The focal point is the purple. You can see that figure right there on the right side and the spices are red. You can see the red and the blue is mixed in, I believe it's underneath the scribbly mark there. So I'm going to go back what I'm going to do now. I'm going to show you, if you click on that little question mark, it explains the system. And he said it's based on the Munsol system. You can buy the physical color wheel and it has that information on there as well. You pick the dominant color. Um, I'm just going to scroll through here and show you what this means, what he says. It's really helpful. I've used this a number of times, especially if you get stuck. And you can see he adds the spice colors around the focal point, and then he just summarizes it down there at the bottom. That's the goof proof color wheel and how it works. It's a very good tool to use. 7. 007 Get the Figure Down Grid: Okay, so this is the grid method that I use. You've got your square panel and you just need to find, this is a 12 by 12 panel. So you need to find the halfway point vertically and horizontally, which would be six. That's right there is your straight edge, are your lines. So we've got a halfway point here and like a halfway mark is about right here, just under her chin. Halfway mark is approximately here. Halfway mark is approximately there. These are just some extra guidelines for you. Okay, same here. I'm just estimating because we're not doing hyper realistic figures. Okay, so I'm going to put a mark about right there, that's about the top of her head. And I'm just bringing that halfway line, hope there, so I'm here and here. Okay. Please don't have to be precise. They're just a guy. Okay. So we've got, this is not her chin, this is under her chin. So I would put her chin about right there. Don't worry too much about this. This is just for you to get the figure down and using this halfway point that comes about almost to the end of her hair, but just above the hair line. And that's kind of like that in the shape here. Kind of looks like a dog's nose. And her arm goes beyond that mark and see, that's why the guidelines. Because if I'm eyeballing it, I thought it was there. This arm comes in a little bit, goes up on the elbow, and then using the halfway line, goes beyond there and the breast line is almost right on the line and just past this point right here. So I'm saying here. So here's this line, this comes down, and then past this halfway point. And then this leg using this is about halfway between here and here. I'm going to say here it goes up, and then you don't have to worry about the rest of it. I'm just kind of sketching in those shapes. Okay, so we've got this line. This is not all the way over here, this is probably about halfway. So this kind of goes out a little bit and then maybe not that much, and you can always make adjustments. And the arm is not all the way out here and this goes, this is the inside. I just don't worry about that, you know. So here's this I should make. This is the outside. Okay, Right on the line is the nose shadow. So you can go ahead and sketch. That joins up here. We'll do this with paint it a bit, losing the guideline that is above the shoulder, so you can always make adjustments slager, so don't worry about it too much. There's some darkness here. There's a shadow here. There's some darkness over here and down here. Okay. The eye line. That's about halfway point and that's right where her eye line is. So this doesn't look right. I'll just draw a dark line across nose line. Don't worry about how this looks. Okay? That's just that kind of shadowy area, the shadow there. 8. 008 Get the Figure Down Tracing or Transfer: The third method for getting the figure down transfer paper, the one that I get graphite. You just want to lay it down in the areas where you're going to be drawing, which is right there. And you can use a little bit of tape to secure it. To secure it, so then you take your image, which should be printed off, big enough to fit on whatever size panel that you're going to use. In this case, we're using 12 by 12. This is an 8.2 by 11 sheet of paper. And I figured that's going to work, so you can either hold it or also take this down. I'm going to take it down and I'm going to take it where I won't be drying. Okay. And then you get your pencil and you trace, and then you just start outlining the shapes. Well, I know this hand goes off like that, so I'm just going to go ahead and put that there, and this goes off over here. Oops, that doesn't matter. I'd like to go inside so that I can see where I've been just chasing all these shapes. Oops, those are no the oops down here. And I'm just going to put that there and I know this lay comes out, so I'm going to bring it out. This comes in, in these meet about right there. Here is that triangle that we've done. I want to bring that out. There's a light shape right there. Light shape right there. This is up. This is a pointy thing. And then there's, this comes down straight down and almost meets that mark. There's another shape right there, the dark shape right there. And I believe that's everything. If you want to put those up there, you can that one. So there was your transfer paper method. 9. 009 Get the Figure Down Wing It: This is the winging it method. I'm just going to speed it up and add some. Music And you'll see that this is not a perfectly rendered figure at all. Not even remotely as tempted as I was to exclude it from this class. I feel it's important that you see the ugly parts as well. I wanted you to see that you don't have to be a perfect draughtsman in order to do this successfully. Now, with that being said on with the video. 10. 010 Value Study Grid: Okay, so what I'm going to do now is I'm going to do a value study. I had to rerecord this because of the noise in my studio at the time, it was really hot and there was a loud fan going on. Basically what I'm going to do here, I am just darkening up the guidelines just so that I can have them until it's all finished. Eventually, I'll get rid of them. All I'm going to do now is paint all the values I'm painting the dark values first, and then the middle values will come after that. And then the light values. The only thing I'm painting here are the shapes that are in the manipulated photo that's beneath the actual photo. I'm going to paint in the, and I'm going to paint in the grays. And then I'm going to paint in the lights. Now, I am going to speed up the rest of the video just so that you don't have to watch 17 minutes of me painting in blacks and whites. I'm just going to speed it up a little bit and add some. Music 11. 011 Value Study Tracing or Transfer: Okay, now what you're going to do is you're going to go back to referring to these photos to paint in these shapes. And we are going to start with the black. No, I don't have, my paint is not thick enough. Okay, let's see. I want to go on nice and thick and get the coverage in there. This is the nose shadow that comes all the way out to the hair in the cheek. I missed a spot drawing with the transfer paper. This only comes here. There's some shadow here. This shape right here. This shadow over here. I'm just going to stick that in there roughly. And under here. I didn't I missed another spot, looks like, but that's okay. And there's this kind of shape over here. This new shape, and that's all the black. So now I am going to come in with the gray that looks close. There we go. Okay, so now I am going to just paint in the gray that's really close to the color that I need. These are just value studies just to teach you. And this comes over here, goes in under her hair, rounds off the shoulder. There's a spot inside here, outside here. But there we go. And then we've got this part here, comes down onto the black, this part here. And these shapes don't have to be perfect. This is way up here. And I hope you can see why that app really helps. Because it creates these spots or those apps. Oil shine. Yeah. And then there's the neck one. And that one come down here on the bottom. This actually should be a little bit like that that comes up there. That's fine. Now I'm going to come in and I'm going to paint the white areas. There's a slightly lighter, really light gray part there because I didn't use a three level gray scale. I used a four level just so I could get good shapes. And this chest area up here. There's another one of those areas with the slightly, they're really light gray. That's fine. Come back and fix that. Oops, I'll come back to that a minute. Get this white over here. This is white inside of this arm, the top of this leg. This arm over here, down here. Okay. Now, for this area, in this area, in this area, I'm just going to go light gray just so you can see a slight difference. So that you can, I'm going to go with a really light gray here so that the figure doesn't disappear into the background. Just to kind of differentiate the shapes. And that comes all the way up to the hair line. Okay. Oh, I didn't do the light gray there. This gray, just because it's another shape, comes in a little bit there and here as well. And here. And I believe that is it. Okay. And that is it for the transfer paper method. 12. 012 Value Study Winging It: Okay, now we're going to do a value study for when we winged it, get a bunch more paint. Start with the Blacks. Let's go ahead and put that down there. We've got the shoulder, we've got this chest area here. I keep forgetting to put that hair in there, don't I? I've got this hair right there in the cheek shape and her jaw line. Go ahead and put that hair in there all the way. I just wanted to. The reason that I show you several different ways is because it's a personal preference. You know what people like, what you as an artist may like. You might like it imperfect and just free handed versus gridded out. The way that I grid is not the way that a lot of people grid when they're doing hyper realism. It's just a guideline if you, if you want everything in place like the legs and the arms and the breastline, facial features. But you can still do that. There's still some more over here. There's a bit right there. There's some more over here. A weird upside down, sideways, U shaped this like right now, we are going to put in these gray shapes. There's this triangle up here. I'm just refining these shapes. And don't worry if it's a little bit pay in the beginning because this is going to be covered up. Anyways, now I'm going to speed up the rest of the video of me painting in these shapes. 13. 013 Color Study Grid Pt 1: Using this color, will I'm going to go with a blue green dominant color? Yellow and purple are my two spice colors. And red is going to be the focal point. Let's get started. We're going to go with this blue green, but with some black, it's a little too gray. And this is just to get you started. You know, as you practice, you'll discover what works for you. And it's just to give you a starting point. This is not a color theory class, it's just to give you an idea. Okay? So we've got this nice Turquoisy, which is really a blue green. To get those drips in there, and I'd like to get a little squirt and let that drip down and it sends out the paint a bit so that you have these variations. And I'm going to mix a little in there. Since this is going to be close to this dark part, I'm going to keep that area really light up around her head. Just because it's blue green doesn't mean it has to be like super set. It doesn't have to be the purest of colors. And just get some abstract looking marks, just break up that smoothness. Okay, I'm going to come in with this lighter value over here. I'm still going to leave my grid marks in there, just since this is the grid figure so we don't lose them. I'm going to make this lighter up here. You don't have to keep the the shapes that are around. You don't have to maintain this. That's just to give you that was just for getting the figure down. But what I'm doing is I'm coming in with a lighter values around the darker values so that they have an impact. I can try this, okay? And for now, that will do it for the dominant color. Now for the focal point, which is going to be her face, but also her body, we're going to go with red or a variation of red. I'm gonna add a little bit more white. I'm gonna go right through that trippy spot. Yeah, let's still squirt again. I want some of that drop down shake, some of the excess paint over here. And see there's little sprinklings of this color that look really nice. So I'm gonna weave those and I don't think I need those anymore. I'm gonna put this right there and drop some of that over here. Okay, I need to come in here and do some more of this. And you see I'm just loosely putting this in there. Okay, I'm gonna add some more red to this area here. This should be lighter. I'm going to lighten that up in a minute. But right now I'm going to come in here with a darker section because based on my value model and the reason I'm using red because red is actually really dark, I'm going to make that red down there over here. Now for her hair, I am going to, I'm going to make her kind of a red head. And I'm going to come out a little bit further because I just kind of feel like her head is a little bit too small. I think we should bring some of this over here, this color, Introduce it somewhere else. Okay, now she's got the dark in her face. Now I'm gonna give it a squirt. I had some white paint drip down there, but I'm going leave it 'cause I like the way it looks. Let's see, When this turquoise mixes up with this pink, you're gonna get this really beautiful gray. And I am going to get another brush. Okay, so I've gotten this mid size brush just so that I can get into those areas, the smaller areas. Now I am going to lighten this area up. That should be a really light gray or turquoise gray and I'm going to get that triangle back. I'm probably going to lighten this up even more, just to go back to the original shapes that we painted in with the value study. 14. 014 Color Study Grid Pt 2: One of the reasons that I like using these tools, especially on a small painting like this, is because it takes you out of control. Some spontaneous things can really happen. I know I've got turquoise on here, but I'm just going to smooth this out a little bit. I'm going to keep some of these interesting areas and this is just to get you started. You know, as you practice more, you'll discover what works for you. And it's just to give you a starting point. This is not a color theory class, but it's just to give you an idea. Okay, so we've got this nice Trqoisy, which is I'm gonna clean up this leg a little bit with some white and let it mix in with the paint on the surface. I'm gonna curve that up so you've got smooth areas and messy areas. We've got a little bit of both white. I'm gonna come back in here and get this triangle. And just to for continuity, I'm gonna bring some of that over here. I'm gonna take this and smooth things out. There's a little bit of orange mixed in there that I really like down there. So I'm just going to mix that up. I'm going to work in this area down here, so I'm going to bring, I'm going to darken, get some red with a little bit of turquoise mixed in, a little bit of black too. There we go. And these two colors mixed together are harmonious. I'm gonna bring the same thing over here. Yeah, over here. And since you've got these dark areas down there, I am going to bring in a lighter value, A little bit of this mixed in gray. It's kind of a nice gray. Okay, bring some up there. Let's see. And this is the kind of thing, that's why this is nice, just because this allows this, these little accidents to happen. I'm going to make this later, so I'm just going to come in with some pure white and mix it in with this paints just right here on the painting since still kind of wet. It's kind of gray down, but it's gray down with all the colors that we want. I'm gonna make this light, since it's up there next to her dark, I'm just lightning this area over here. I'm going to work on her hair a little bit orange. Now. See I like this orange with the red, so I'm going to leave that. Plus there's a little bit of turquoise mixed in there down here that comes up like that. I'm gonna leave that turquoise. Her neck is right there, and I'm looking at this picture now. The space between her hair and her neck, I'm going to fix that. I'm got to put her chin back in there. I don't know where this color came from. I think there was this is sage green. Some of that yellow must have mixed in with my luv ne, but that's okay. It's nice. There goes the face. I'm gonna make that darker. It actually is just to get a little darker, I'm not quite working the way I want to work, so I'll just remove it, just kind of this topy color. Okay. What I'm going to do now is I'm gonna let this dry and I'm gonna come back to it. 15. 015 Color Study Transfer Paper: I'm going to use the color wheel again. I'm going to go with the red yellow as my dominant color. Blue is the focal point. Purple and green are going to be my spice colors. I'm going with the dominant color of the yellow red. It's really more of an Indian yellow. The focal point is going to be blue. The spice colors are purple and green. I'm just going to go ahead and start coloring in this largest part, the dominant area of this painting. I'm mixing a little bit of white in here so that I can have some variations in that yellow. And I'm just going to get all of this colored in with these different variations of yellow, orange. And I'm going to shape around her head trying to get as much on here as possible. This is one way, a very simple way of choosing a color palette and how to start. I'm going to do all this area right around in here. I'm going to put some pure orange right here. Since this is the focal point, I'm going to bring in some more of that orange over here. Okay, I am going to keep this a dark value. I'm going to bring in that focal point color that blue and it's gonna look really nice. This is the same value as on the reference photo, so I'm pretty happy with that. But it's more blue than gray all by itself. I'm going to bring in a different variation of this blue just for some variety. And in here in the light value area, I'm using a very light blue, a really, really pretty kind of robin egg. This is not quite as light as I want, but I can always change that later on, But I'm just getting the values in right now. And as long as it's a lighter value than the shape that it's up next to, then you can definitely see the shape. I'm going to come in with another variation of that. Yellow. It's basically the same color with a lot of white mixed in. Just to get that light value shape, I'm going to come in with the trowel and smooth that out. Put some more of this excess paint over there and into the figure as well. Oops, I lost my figure a little bit, so I'm going to scratch that back in. I'm going to bring in some of the spice color down here into this dark value. The spice color green, I mean over here as well. Now I'm going to come in with the other spice color, purple. It's hard to see in this video, but it's really a purple brown in this dark value over here. I'm going to break this up over here. I'm just going to scumble this color in a little bit just to add variety in the strokes. And I am going to give it a little bit of a water squirt. I'm just going to shake this excess onto the painting. I'm actually going to use my trowel to put paint on. This is a bit of white mixed in with the yellowy color. I'm going to lighten this area up over here. I think that value is a little bit too dark. I'm going to bring a peachy color over here just for some variety. And also I think maybe over here as well. And shape out her torso area with it. And I'm going to get my trowel again. You guys must think the trowel, the trowel, that woman loves a trowel. This dark spot up here, I think. I want to make that a little bit lighter so that you have a light value against a dark value. And I'm going to refine the shadow down here with some green, a lighter green, so that you can actually see the color. And I want to lighten this value up. And this is just pure white with a little bit of blue mixed in with it. You you can see I use a lot of paint. I put on, I take it off, I put on, and I take it off. It all just adds to the history of the painting. I'm going to bring in another variation of this yellow orange. It's just a creamy yellow, I don't know what you call that color. Maybe like naples yellow with some white mixed in it. And I'm going to bring it over here on either side of this darker value to make that stand out. I'm going to bring in some more of that purple. This is supposed to be around the focal point, so I'm putting it just in various places around her face. Now I have a little bit of white mixed in with this purple. And I'm going to put it up here in this area, and it's kind of a gray down purple and it has a nice contrast. And I feel like that's good to go. 16. 016 Color Study Winged It: This is the color demo for when I winged it. I'm going to use this color wheel to pick my palette. I'm going to go with a dominant color of purple, red, with the focal point being green. The two spice colors are yellow and blue. I'm going to start with the magenta, that's a bit darker than I want it to be. I'm going to add some white. I'm going to need a lot more paint than that. That's a bit more. It's a nice pink that I have. There's some other colors mixed in there, but that's okay. That just adds harmony. There we go. That's a loaded brush. This is just Quinacridone magenta, mixed in with some white. There's some other colors mixed in there which is it calms it down a little bit. And I'm just painting this dominant area over here that we did with the black and white value study. Just covering up everything. Just go ahead and shape out her head and I'm going to go ahead and paint out that negative space in between her hip and the inside of her arm, keeping the same color because it's that's still the most dominant area. I'm saying with the dominant color being this purple red. I've got a lot of paint on there, so I'm going to get my travel out and smooth some of this and get some of these cool abstract marks. I'm not really worrying about going over the lines here. Now I'm going to bring in some more white. Lighten this up a little bit, I want to get it as close to the same value as is in the reference photo shaping the head. Again, I'm just going to continue to fill in and fill in and keep painting this particular shape. I really needed a bigger brush here. But I'm going with what I have in my hand right now, this is a bit patchy in here. I'm going to go ahead and fix that shape, that arm out that's pretty well covered. Now I'm going to come in and do this lighter value. I'm going with this green. It's not as light as I want right now, but I can work on that later on. Second thought, I'm going to go ahead and use that green in this gray area, which is the middle value. I'm going to lighten this green up because I want to get back to that light value that's in the reference photo. Most of her body is this light value. But I'm going to go ahead and do this gray over here first. And I have a lot of paint, so I'm going to scrape it out with my travel. That will help me be able to come into this light value a little better. This, I've got like green mixed in with some white hair. It's still not as light as I want it. I'm just going to get rid of this paint that's on my brush. It's still lighter than the other value. I'm just going to shape out this leg with this color. I'm going to carry this over here just trying to get that light value in. It's still not light enough, so I'm going to come in here with a big glop of cream colored and just get back to where I was trying to get back to. And just paint in that light value all around in every place on her arm and her shoulder. Down through there and just get everything covered up. Just color this in. And then up here trying not to miss any spots. Just doing this because I'm trying to get that shape. And the reason that you used values is the contrast between like the lights and the darks. And that's what moves your eye around the painting. And the light value, when it's up against the dark value, really pulls your eye in. I'm going to smooth this out a bit with my trowel and break up some of this paint and get some interesting marks. I'm going to spread it out into the dominant area. I'm going to try a different brush and see if that helps, just to get that little spot in there. Now I'm coming in with some peach color. I've deviated from my color palette a little bit, but this is really just a grade down version of the dominant color. It's, I'm going to spread this out with my trowel. I'm going to cover this light value over here with that same peach color. It's a fleshy Beijing pink. I'm going to get the trowel out again. I do that just about any time. I feel like I have too much paint on my canvas. Now I'm going to try and get this shape over here, this light value shape, a little more accurate. And try to follow the reference photo a little more. There's a little bit of pink mixed in there, but that's okay. It's going to add to the harmony. Now I'm going to use that same color. I need it to be a little bit lighter, but I'm going to put the same color in the light value of her arm. I think I'm going to put some pure white in that arm just to get it really, really light. And I'm going to take my trible again. You can see I'm not really fussing about the shapes too much here. This area up in her shoulder, I think I'm going to go with a dark green on that. There we go, That's a really dark green and it looks really nice up against that pink, magenta color. And I'm just going to go ahead and color all of these dark areas, that dark green, just to go ahead and get the values in there. And I'm going to do this one too up here as well. May as well do her hair too. And I'm going to go with this burgundy. It's got a little bit of the green in there, but it's that magenta color. But the two of them are kind of mixed together, and that's what I'm making. The color of her hair is kind of a brownish, but with a hint of magenta, That value in there in every spot I see a dark mark on the reference photo. I'm getting at my trouble again, smooth all this out, take some of the color over here and over here, and over here. I want to do something more over here. And I'm just going to scrub that out with this light colored, pink and beige mixed in together. I'm going to come in here with some orange mixed in with this magenta to add a little bit of variety. Now that's adding a really nice dynamic there. It's very transparent. It's looking really pretty with the magenta shining through. I'm just going to spread this all out into the dominant area. Now I'm going to come in with more green over here. It's a little bit of a yellowy green with some white mixed in there. Just I want that value to be more in the middle. Still working the green and that lighter value around the shadow down at the bottom of the photo. Now this is a brownish color. It's a bit of that magenta mi extend with the green and some white. I want to get her hair closer to that color. I just don't want it quite so, not just her hair, the dark shapes in the reference. And I'm pretty happy with the way that looks. I'm going to bring some of that same color down here, since that's another dark value on the reference photo. And up here on her shoulder as well. Now I'm going to come in with some pure white just to get that light value as light as possible. And this pure white is mixing with some of this green that's on the board because it's still wet. And that's fine. That's just giving it a green tint. I'm just going to go up here and add more of this white up here and over here on the arm. I'm going to bring that white all the way around to her leg and get that in there to separate that from the negative space that's in between her torso and her arm. Over here on her arm as well, I'm going to get my T again, I'm just going to pull this out and just get an interesting abstract mark right there. Sometimes you have to take risks like that. More likely than not, it's going to work and I'm going to stop right there. 17. 017 Color Mixing Demo 1 (showing my palette): Hey you guys, this is Donna. I'm just getting ready to do some color demos for you. I'm just going to paint on top of some paintings that I've done before that I'm not really happy with. I'm just going to show you how I use the color scheme. Demo, color scheme Bible. I'm going to pick a palette from the color scheme Bible. And there's so many gorgeous ones in here. As soon as you open up, it's just like, this is stunning. I'm not going to do that one. I'm going to do just a basic, let's see, a palette that I would normally use, because I believe that was one of the questions. One of the palettes that I use a lot is a G. I do like a lot of fleshy tones. A palette is really pretty. I'm just going to mix up some colors here on my say, wet palette. And I'm just going to put them on the board and show you how I do it. We'll see how it goes. Let's see, I'm going to do this one. I'm probably going to lead off of lavender. That's just one thing that I tend to do, is stick with a couple of colors and then I start mixing in blacks and whites with them. But for this one, I'm going to make this peach color. This orange. I, some red, some yellow. I'll need some blue in order to make that green, but I also need blue. If I use this blue color up here as usual, I'm going to need a lot of white. Okay, I'm going to start with this orange. It's not a pure orange. It's really burnt orange that you would see in a mid century modern stuff. I love that color. It's a color that I use a, I just take the red and the yellow. Now, you can start out with pre made colors, but I tend to mix my own because that's what I almost always have in the studio. I've got too much water in my paint. I like a thickness here. This is a fluidy pain. Almost all of the paint here, I think all of it is made by Nova. This is the orange. But I'm going to put a smidge of blue in there because when you a complimentary color, a color into that color like blue is a complimentary of orange, when you mix just tiniest bit, it dulls it down. Same thing with red. The complimentary color of red is green. It mix just a tiny bit of green in with red, dulls it down, browns it, or grays it, however you want to refer to it. See, I'm just going to compare it. I need a piece of paper that's pretty close, it's a little bit darker, maybe a little more yellow. You could add white in there, but that's going to completely change the color. See, that's a little bit, that's a little bit light, you can see, hopefully there's no glare on it, but somewhere in between those two. So I've made the orange, and I'm just going to come in with some more orange. There's not enough paint on my palette right now. I'm going to make up some more orange, with yellow and red and a smidge of blue, some more yellow. Let's see, I don't know what. Oh, here's my swatch. I'm just looking for my little swatch. It's pretty close. Darker, but let's put a little more yellow in there. Okay, So I'm just going to go in with the orange, and I'm going to come in here and do some orange. And when you do, you can see how dynamic that orange looks up against the blue. And that's what you get when you are working with complimentary colors. And I've got some spatulas over here just to kind of sneeze that out. That's really neat. I like the reveal right there. I'm going to put some more of this over here because I'm looking at what's already there and this blue is already there, which I like. Okay, Another thing also is when the more of the complimentary with the other like let's say I've got the orange right here. But if you want a nice gray, then you mix, not just a dab. This is looking more like a green. I'm going to put some more blue. I'm going to get just a dab of water and then add some white. If you want that gray or that brown, if you want it to lean more to orange, you bring in more orange. But if you want to lean more blue, then you bring in more blue. Then you want the lighter version. Just add more white. And just to dad more water, let's see, Add more, a little more blue. And you've got this really nice color right here. But I think I want to add more white to it. More white. A little bit of the orange, just until I get a color that I'm happy with. I'm just going to go over these areas right here, there's some brown right there and here. I'm going to go ahead and put that in there. There's some things in here I don't want to mess with. Like there's this squiggly mark that I like. These look like just fingerprints of mine and I like those too. I'm going to make that whiter or I'm going to go over it with a lighter version of what I already have on my paintbrush. Okay. Now I'm going to just come in with another brush just because I may want to use that again. This other brush, I'm going to come in with some more blue and brighten that up in places. Now this blue looks like it was either made with a little bit of brown and you can see it completely deviated from the palette. I really just used this orange as a jumping off point because I'm going with what's in the painting, that's just habits that I do. But I mean, that's a painting that's already established. If I was starting from scratch, I would try to stay as close to the palette as possible until I started getting things that were looking the way that I wanted them to like, oh, I like that color. Oh, I like that color. I've got some blue here. I'm going to mix just to keep things harmonious. I don't want to come in with just pure blue. I want to use a little bit of this, a little bit of that, keeping harmony in your paintings. Now, a little bit of this, just because I like the blue that's on there. I like this blue too. But I like that blue as well. I don't want to lose all of it, but I don't mind like a sprinkling a little bit of it here, some cool dots there. I'm going to come in and mix this with the blue, just so I can get a light blue. It's a gray down blue. It's really pretty. I'm going to put that on my little swatch of paper and see how that looks. See, that's almost the same color as that right there. I'm going to put some of this up here. Just because I'm following the shapes that are already on there. Let's see, There's some light over here in her face, so I'm just going to come in. See, I'm sure there's a connecting line right there. I'm looking at it and I'm squinting my eyes and I also want to this area, the negative space in her arm, I'm going to put some more orange in there. There's some white on it. But you know what, I like it, I'm going to leave it. I didn't know there was white on my brush, but that's okay. That happens to me more often than not. Now, there is something I want to fix in her face just because it looks like she's got like a double face or something. So I'm going to come in with some of the blue, darker blue and as I know the hands up like that and just connect that there. I'm just going to go ahead just because I don't have the photo in front of me. I want some darker blue or brown. That works too, just a smidge of water because that color doesn't look like anything that I've used anywhere else. I am going to bring it there now. I don't know about that face, so I'm just going to scratch through it like that. That's just another thing I do that's interesting. Okay, so I'm going to point to make the morphal point there. I'm going to get another brush and I'm going to take away some of this dark on the outside of her arm just because I feel like, oops, white on there again. Actually I like it. Those happy accidents as Barbara says. I like it because you've got your light value up against your dark value, so it immediately makes it pop. That's all I think I want to do to that particular painting. 18. 018 Color Mixing Demo 2 (showing my palette): Here. I've got one that's pink and green that I did that I wasn't very happy with. If you look at this, it's basically this color, this color. There's a little bit of this, but more on the pink side than the fleshy colored peach side. I'm going to go with that. I'm going to put this right here. I want to go with the green because I did blue in the last one. I'm just going to use this green that I have here now. That's pretty, I'm going to use that now. Let's see. Let's go back to the reference photo. This is supposed to be a lighter value, so I'm going to knock that off and do this section up here. This comes down because I know I've got the red underneath there and I've got some marks. I'm just going to use this to some of this paint off. I didn't mean to do that, but the other one I think is the one to use because I'm trying to reveal that stripe just because I like it. Okay, now looking at her again and looking at the palette, this is already in here, so I'm not going to change that. Let's try some of this purple. I'm going to scrape some of this paint up. Okay, how you would normal, let's say you did not have the magenta. How you would mix that color. That lavender color would be to mix red and blue. And you get your purple. Let's get my little swatch here. You can see it's not that kind of purple. But let's add a little bit of the Quinacridone. And there's also some green mixing in there. It's graying down. Let's try this with some blue. I'm running out of paper here, that's a plum color. If you add some white to it, that may be, when you get that, it looks like violet or lavender. Dusty lavender is what they call it in this book. Then you can adjust the colors. Once you get to this point, it's still gray. I say add some more red. Adds some more blue. That's a nice purple. That's pretty close. Let's just put a little bit of this in here. It's more of a lighter value. I'm going to put it in one of the areas where the dark red is. I'm going to add a little more red. Just um, and that's pretty, maybe there and I'm going to, for continuity purposes, I'm going to bring that red over there, spread that out a bit, put some up here just so that you have some of the same color spreading around. Okay, so just a little bit of that. I like those red stripes right there, so I'm not going to mess with those. Let's see, she's got a mark, right? I'm looking at the reference photo and there is some gray areas. The gray value here, let's see under there here. I'm just going to mess it up like that. I'm pretty happy with that, except I want to light value on this side. I'm going to come back in. I don't remember what's on here. This is that peachy color, looking at this palette here. Let's see, I'm just going to stick with the peachy color and add more white and just put it comes up here, but there's some stuff over here I want to keep. I like these scratchy marks. I'm going to go over that lavender just because I don't like it. I'm going to come back with my trowel. I have my trowel and I just want to break up this paint a little bit, okay? And this happens. It's like, oh, I love that little spot. And then you do something, you're like, you know what, I don't like that spot anymore. So that's what happened there because I was like, oh yeah, there's stuff over here that I want to keep but that happens quite frequently. I'm just losing the edge here, so I'm going to come back, that's an orange, red. I'm going to just mix up a little bit of that and reshape her right there more of that peachy color. Now, let's see. I don't want it to go away completely. No. Okay. Now, this is more an angle right there. I think what I'm going to do is I'm going to paint the whole thing in like that. But I'm going to come in, I'm going to gray down this color by mixing in some of this green and just make like she's got a shadow right? There's all that paint that right here, that's dark. Dark enough for a shadow. So obviously dark just a little bit because her leg is actually kind of in front there, there. I'm going to leave that like that. But since this is kind of a new color, I'm going to introduce it up here, maybe down here over here somewhere. It's kind of, I don't know what you call that, like Celadon Green. Okay. So I'm going to set her aside now. 19. 019 Oh My Brownish Hair Pt 1: For this one, I'm just going to go with a peach and green complimentary color scheme. I'm going to start with the background as green and do the figure color peach. I'm gonna start with this white area over there. I'm just going to start by blocking her in with this peachy color just to get the gesture in in her head. I'm just doing mid tones right now, Mid values. I mean, this peach is kind of mixed in with the green and I've got the figure going the wrong way, but I'm going to fix that. I'm going to come in with a lighter value, the white mixed in with the pink, and the green is kind of mixing in with it too. I'm going to scratch in where I need to get my shape back in, and I've got some of this blue over here. I'm just going to use that as the gray value that's on the outside of the figure, getting that as white as possible. The paint is still pretty wet and I want to bring my peach back in here and I'm going to use that peach as the dark gray value on the outside of the figure and outside of her arm. And I've got some blue on my brush here, I'm just going to use that as the dark shadow on the left side of her face. It's her right side but our left side. I'm going to get that negative space between her elbow and her face. On the outside of her arm. I lost some of my green, so I'm going to bring that back in over here on this side of the canvas. And use that to cut in to the figure to get the shape the right way, facing the right direction. I've got this aqua colored, aqua turquoise teal. I'm not sure what it is, and I'm going to use that for the negative space inside her elbows. Bring it on the outside as well, and use it to shape her arm, her breast, her hip. I don't get this really nice kind of tope color, I just get that as the mid value on the outside of her arm. And those shadows in her face get my peach back in there. More of an orange, peach. That color looks so good. Up against the blue and the green or the blue green, whatever you want to call it. I want to get some more of that up here and in her neck area. Now, I want to get that dark value over there. So I've got, it's a bit darker than I wanted with this reddish brown, but I'm just going to go with it because it's just paint. And we can always lighten it later just to refine that dark gray value shape over there. Outside of her elbow as well. In her neck, her face. I know I want to bring in this light value on the light side of her face and get the shape of her chin in, get her neck shape in there. And then across her chest up into her arm on the outside of her arm up here on the top arm where the light is hitting that, bringing that down. Get some more up here across her chest, get the shape of the breast in. It's a little bit of pink in there. It's white with some of the peach. It looks really nice. Now it's looking lighter like I like it. That's a nice mark. I like that. I'm going to leave that. The thing is, it's good to have a lot of pain on your brush. You can always take it off, but when you got a skimpy amount of paint on your brush, it's not very satisfying. I want to get some more of the peach back and we put this over here on her leg, in that gray strip that's right next to the white value. And then up there under her arm as well, then to her neck around on the outside of her arm. Inside, outside of her arm. That little piece right there in her arm. That's a good stopping point. 20. 020 Oh My Brownish Hair Pt 2: So continuing on with this demo, what I'm going to do now is I am going to lighten up this area over here. And that is the lightest value. It's a nice light green and I think it'll go well with the beachy color. But this spot of paint is a little too blobby. I'm going to get my trowel and blend it in that way. I'm just going to refine this edge over here. Just give the form more definition and create a nice contrast between that light value and dark value. I'm going to bring in some more of this pink. I want to get this light value over here. It's a really delicious, peachy pink color. Just smooth it out in the areas where the paint gets a little bit bulky. I'm still just refining these light values. Appear in the face, appear in the hand, over here on the arm, and over here as well. And the other one was a light value as well, but I just want it really light so there's a nice contrast. I want to smooth this paint out with the trowel. I'm really happy with the way things are looking here. I'm loving that little red area just above her legs in this light value, smoothing that out as well. I don't want the paint just to sit there. I want to break it up. And that's why I use the trowel a lot. I'm going to come back in here and do that shape. Just refining, refining, refining, getting the right shapes in there. Now I'm going to come in here and get some of this mid value up in her face and her neck, and over here as well. Continuing over here with the mid value, this brown color that I have on my brush. And I'm going to put some of this down here, I think I'm going to put it over here as well, next to the red strip. I'm just painting that light gray shape that you can see on the reference photo. I'm going to make a bold move and come in here with some orange. Looks pretty good. I'm going to leave it, maybe put some more, just make your eye move around and she's done. 21. 021 Greenish Envy Pt 1: This is a little demo of five by seven I painted recently. I had originally filmed this for Tiktok, and I apologize for the iphone format, but I thought maybe you'd want to see it regardless. Now, I'm just going to start out with a green background for the palette for this painting. I'm just going to stick with green, yellow, white. And maybe some other surprises later on. But I'm just going to go ahead and get this green background in. I know it's bright green, but it can be fun. I'm just going to block her in with a lighter value and I'm going to use yellow. That's not exactly where I want. I'm just going to scratch in with my paint brush. The end of my paint brush, I don't like that either. I'm just going to start over, that's a good line. Just getting the shape in. I'm going to lighten this value up a lot more. I'm just going to get the shape in, bring that curve around exaggerating it. A lot of paint on my brush hair. You know what? I think. I'm going to dry this. I'm going to bring more of this screen right here. I do. In here. Can you see this? Scrape away stuff like this. It's only going to add to the history of the painting. I'm going to get that, that dark gray value over there on the side. Go ahead and block that in. In her neck, on her face, this arm over here. Let's see. Just get this off my brush Right now, this is beautiful aqua color. I like it. I'm not ready to get rid of it just yet. I'm going to start shaping her out or just getting her shape back. Coming in with the green and my thing again, you can see there's little ridges on my panel from where it was painted over before. And that's a nice quality too. I'm not going to worry about that. I'm not going to sand it out or anything because I think it will only add to the painting. Now I'm going to get this value shape over here. I'm going to paint in this light value. I've got a bit of white and some turquoise mixed in here. Let's start bringing in the shape up here for her breast and around her neck, that white shape, into her face and on her head. Get that hand in there, let's get that line across. I'm continuing to paint in this light value on her leg, in the groin area, and oh, that's a nice texture right there because it was a little bit of a dry brush technique. I am going to add some more light color in there, a white, but it's got a couple of other colors mixed in with it. I get this breast and then her neck. I think I'm gonna get a little more paint on my brush. There's, oops, there's a little bit of pink mixed on here, but I'm gonna go with it. That's good for now. But I'm going to bring in this area over here, that white area on the reference photo. And I've got just a yellow, creamy color. And just paint that shape in. That's a lot of paint. So I'm going to get my travel, still refining, getting the shape of that leg in and the arm. I'm going to refine that a bit. Elbow should be more of this angle up here, and this should be more rounded right there. Plus a little bit of it from scratch into it. And I've got a lot of wet pain on here. I'm going to try it and I've lost my form, so I'm just going to use this little screwdriver thing and scratch back into her hip and get my shape back. I'm going to break up these areas. I just feel like they are two individualized standing off from one another as opposed to being in unison with each other for the painting as a whole. And I've got this Toby color. Oops. Well, I'm just going to go with it. I wanted to paint in this shape over here. Here we go. Oops. A nice aqua color that I'm going to paint, this lighter gray value, not the darkest and certainly not the lightest. I'm going to break this up as well with my trowel. I hope you see what I'm doing here. I'm just painting the shapes, painting the shapes that are on the reference photo, As close as I can get to them. With this big brush that I have, I need to get that face shape in there as much as possible. The light color appear on the arm. I need to fix that. I'm going to come in here with some sandpaper and still break up those areas. I'm just not happy with them. I really want them to blend in with the other areas based on the size of sandpaper that I have in my hand. You would think that this is the last sandpaper I have in the studio, and it's absolutely not true. This is looking more like I want it. I'm going to wipe some of that away. And you can see I've gone back to the base of the little board and it looks really nice there with some of that showing through. Now, I've lost some of my form over here on the side. I'm just gonna come in with this little liner brush. Oops, I made a mess. That's more of what I'm looking for, a little thin line. In fact, I like it. I'm going to put some more of that up here. A bit of that up here. And that's a good stopping point. 22. 022 Greenish Envy Pt 2: I'm returning to this green one. I like the lower part of the body, so I'm going to leave that alone. I am going to make her head a little bit wider, maybe some definition in her arms. Otherwise, I like the way it's looking. I'm going to bring some dark green in there for her head. This really should be out here and this should come down here. This cuts in, she should really be over here. If I'm following this accurately, I think I'm gonna do that. Just the reason I'm not going to do that is I'm going to have to change the proportions here. I don't want to do that because I like all of this. They're slightly fleshy, tan color. I think I'll just stick with making her head a little bit bigger. What I'm going to do here is I'm looking at the shape inside her elbow and I'm trying to I want to get that back. So this arm comes down and there's almost no, I'm just gonna put a little I like that little marks. I'm gonna leave that. Let's bring some more of this in here. This bright green. Let's give her some long hair. There's a little bit of blue on my brush and I like it. I'm not going to change that too much of that. I want that head more down here and maybe bring the hair up. Just put some more of that peach around. There we go, That if I'm going to do something suffocate to fix that, I like that color. It's just some of that peach mixed in with the green and just mixes a beautiful gray when you mix the complimentary colors together like that. Man, that's a good stopping point. 23. 023 Greenish Envy Pt 3: Okay, continuing on with this green one, I'm going to do some final refinements. This comes down more. This line is really up here, it's almost horizontal. I need a smaller brush, but I like the challenge of working with a larger brush because it's the lack of control that gives you unexpected results. Okay, now I want a little the definition between her head area and this triangle area. So I will lighten the value of the paint that's within her elbow. Not quite light enough. There we go. Now I'll bring that same color up here. Okay, I'm going to also bring the same over here and the darker value in her face, the shadow. Okay, I'm gonna stop there. 24. 024 Who Am I Pt 1: I have this piece right here to show you. They don't always turn out the way that I want. I am going to pick a completely different pose, trying to decide do I like. I've done a lot. I want to do something different. I have these printed out on eight by ten paper. I'm going to go with her. Okay. Now, as I'm looking at it, I'm wondering if I'm not going to worry about it too much, but I just want to point something out that when you have the model and we as humans are going to follow her gaze. And you can see her face is cast down. It almost sends you off the canvas. But her hand does bring you back in and you've got this nice L shaped composition. We're going to give it a try and see how she comes out. So let's start in the pink section, which is on page 36. And these are just a pink I like a softer going more towards Pat can see I really like this because I've got spills on it. I've got it flagged. This one's nice too. I'm going to keep that one in mind, Sensational and sensual. But this Tuscan rustic and sun kissed is also nice. There's a Pg graphic, urban and modern, that's dusty blue is what they're calling it. Okay? It's either between that one or that one. Looking at like this dusty blue can be actually can make it her darkest value. And then this lighter version of that can be the gray. And I can see I did it again with the values because you've got the white, you've got the light gray, and then you've got darker gray in the black. Because I didn't just do this image. I know that when I converted it, sometimes they just look better if I go with the four values than the three values. Um, but then as I deviate, I don't follow this to the letter I am going to go with. I'm going to go with the graphic, urban and modern. Now I am color the background. I'm going to mix up this dusty blue. It looks more like a turquoise color with some black in it. Because she's going to get covered up. I still need some more feel like I need some more orange mixed in there. Because it's a little too turquoise. I most of it's gonna get covered up. I need a bigger brush. Let's go back to the reference photo. Set that aside. It's darker than I want, but because you can see that background is not dark, but artistic license. I'm going to come in with the middle gray. I'm going to add some black into this green mix. What I'm going to do is I'm going to block her in with this gray. That's pretty good. And you can see it's about that far from the top. This hand is about there. Leg is around there. This leg here. You can see I'm just doing very basic blocked in shapes with no I'm not fixating on perfect parts and whatnot, but I want to follow the curve of her body and get that in there. And you can exaggerate it because you can always cut into that later on her is about there. That'll come down. I'll do the negative space in a minute. Actually, I'm just going to go ahead and block her in without any regard to that space right now. The spaces between her arms, and this is going to be more like that. This is kind of the angle of her shoulder. And I'm just doing just this Just occurred to me that I could do this and just scratch into the paint. And I do that all the time. Scratching into the paint with the back of my brush. This is going to come out like that. That's going to come out like that. Okay. So the other colors in this were this peach and that kind of yellow ocher. This head is going to be bigger than this. I'm bearing down. I have quite a bit of paint on my brush, more than I need. Now I'm starting to pay attention to the negative space here. I'm going to need to fix that leg, that space in between, or bring this down like this is going to be over here. This arm is more straight up, but it's hidden behind her body. Keep that twist, that's going to curve around. This is about right there, because there's quite a bit of space right here that her body actually kind of curves around like that. Okay? 25. 025 Who Am I Pt 2: So I'm not really happy with the way this painting turned out, so I'm just going to do something drastic and just start all over. Okay. So I've made a very bold choice here. This is, you can't see it, but it says green gold is by golden. We are just going to be very bold with this. That looks like maybe a palo turquoise there. Number four here, I've got some orange on my palette already. We probably get this nice gray from mixing these two colors together. This is called cobalt teal and it's made by Syl. Okay, I'm looking at her basically, she's going to be like there. The shoulders are about right there at an angle. Basically her body is, you've got this curve right here and then this curve, but do about there. This is why I like using the wider brushes is because you can get the gesture of her in sometimes with one fell swoop. And this leg is about like that. I meant to make this more of a brownish color. This torso, this arm is on the other side of this leg. This is further out. This is to here. This space is going to be right there. We'll put that back in there. I'll probably lighten that up, but that's just so you can see that negative space is right there, right here. Orange I'm using, this is sennelier, also Chinese orange. These are just colors that I randomly grab because just got fatty hanging on the display. This is over here, more like that. And then that's more straight up following this line right here, and then up there to the shoulder. I've got some pink on my palette, apparently. I mean, my brush this, I'm following the curve of this arm. There's not much space between here and here. You can see that's like kind of like a, almost like a little kidney shape. Okay. I'm going to go ahead and get rid of some of this paint on my brush. I don't like that color, but there's about that much space. Just a little bit of reduct, you can do that. That's one way of getting the figure down is just making an abstract painting and then doing some reductive painting around the outside of it. This is an end like that. I do like that grain though. I'm, I'm going to bring some of that back in. Okay. Now I can see that needs to come in like that. This needs to come in. This is going to be more over here. This ad is down there. And I'm just scratching in the shape. This is more like that. As you can see the angle of that muscle, this is down like that. I'm just following these shapes right here. Now, you can paint just these shapes if you want, and that's one way of doing it as well. Now see that's kind of where that face is. All right, let me get the hair dryer out so that can do another layer. I just put some orange and it's mixed in with these colors. But it's going to bring back some of this green that I like over here. And I'm just going to do this, I'm going to leave that line there. Okay, Completely deviated from my palette, but that kind of happens more often than not with me. I'm just following the shape of her hip and up along her breast and her, the gray part running down her arm. 26. 026 Who Am I Pt 3: I've got some lighter value over here on the outside. There's kind of a spot that comes in like that. There's a lighter spot right there in there. I don't want to mess with this area too much because I like that little bit of pink. This curves around like that and I don't press down too hard and I'm doing this little shape over here. And she is coming along this area here, that's pretty light. That's good. I'll make that lighter and I'm going to make that one shape too. Okay. So I'm liking the way she's looking. I need to get that negative shape in there. I'm going to come in and do the background a lighter color. You'll see I'm going to follow the line of her arm, this comes down and around like that. You can see this way. A lot of times these are very androgenus looking. Sometimes you could do this if you were painting the male figure. It doesn't have to be females. It's just what I always paint. I don't know why I painted a handful of males. Just a handful. Now I'm going to get my smaller brush to get in that space in between her arm, but I'm going to carry it over here for continuity purposes just because I got a lot of paint right there. I take my travel and just spread it out. I'll clean that up in a minute, but this comes in like that. I'm just following the negative shape here. This arm is not out that far. It's more like there, the space. In between here, following that line right there. This comes down right there. And let's take that over there. But I still want to lighten that up. I'm probably going to have to get my hair dryer out. This is more like that of an angle. I'm looking at her and comparing it to the picture On the picture, I can see like this shadow comes down. Now, I know that her chin doesn't come all the way down. It's the angle of the model. I will probably a little bit and make that come in and cut in so that she has a chin. As right now, it doesn't look like she has, she has some kind of a chin. She has a little bit of a chin or it's just hidden. Let me put that back and this is more of a curves around pushing on my table. I really need to lock those wheels. I want this lights, I'm just going to just splatter on the paint. Just really put it on, cut in like that, but bring this in, I'm basically just putting her head at a different angle than it really is. And I'm going to make this lighter too. This comes down, this is right here now. That's a little too much. I don't like all those speckles. You know what? I'm really, my eyes are being drawn to the scratched area. I just think this is really cool. So I'm going to do some more scratching. I bring that up there. I'm just going to make one small adjustment, just to change this up just a little bit, and I feel like that's it.