Transcripts
1. Introduction: Hello guys, I am your
teacher for this course. Thank you for joining us today. This course will deeply cover the main
elements of the face. The shadows, the lighting, the whole face structures. There are many skin tone, there are many shapes that we have to pay close attention to. Oil painting is not as hard
as most pupils theaters. So in this course, you will be exposed
to the secrets, to the techniques that
you all need to know. To master the techniques
and get all the skills that you need in order for you
to go as a free bird. I am alleles porosity. 21 years old. I grew up killed in court. I started this pencil
going to acrylics. And now finally I'm
in my final station that I'm sure that I
would never ever leave, which is all in painting. It gives me everything
I need, the timeline, need the techniques, I need, the beautiful cars I need. But what are you waiting for? Let's go do some art.
2. Supplies: Let's get straight to it. There are many art supplies that you have to keep
an eye on your own. There are two things to
look at what shopping for campuses, which is green. So we have to look if it's
fine or medium or hard green. Green is usually used for
abstract art, impressionism. However, if you wanted
to draw a face, it's better to use a fine. But if it's not really
that available everywhere. So choosing medium which
is a bit less costly, and then finding green is the
best choice for everyone, which is the medium level. The only difference is
between the fine-grain and the medium green is the amount
of clarity that you have, the softness of the canvas. So looking at how soft and
how realistic you want the painting to show is the way that you want
the canvas to eat, either fine or medium. If you can't find fine
or medium or hard grain. So you have to look at triple primed or a double
primed or no prime. So you have to see, in order to have a different feed for
the canvas to paint on. I'll show you some
examples about the differences between
medium and fine. I don't technically use green because it's not
in my type of art, which is usually
just it's not that capable for you to
use it for portraits. There are two types of brushes. One of them, one
of them is hard. You have to use both of
them in one painting. One of them is for filling out. This is for blending. I'm going to show
you a quick look of how it can really affect the painting and how it shows the whole
structure much better. Having really soft brushes
are really important. They are very good at distributing the colors
mainly at the Canvas. These are the exact
same brushes, but to us in a smaller-sized, amazing for detail's, amazing
for spreading the colors, including the very
detailed and tiny areas. Moving on to the hard
bristle brushes, these brushes are
really amazed to hide the brushstrokes
if you wanted to just have a really smooth skin. One of the most important
policies is the fan brush. It's really helps with
the blending technique. It's really smooth
and all the sides, you can't use it
mainly to have to use one side as light and
on one side as dark. At the same time, you can
blend the whole thing together up to our
brushes like these. Really amazing to give
you a hair texture. You can use these as an
advantage to use it. To show each and every
hair separately with one brush stroke over the ears are used in
many different mediums, including the data around
the painting medium, Winsor and Newton
thick and listen. I also use the other
rounding low odor Fenner, which is ID to use at
home or a closed please. We're having a strong
smell is an issue. I am using 216 containers
to have my mediums inside. However, you can use b itself. I'm using a glass palette for
the mixing of the colors. You can use it directly
on the palette if you don't have these
exact containers. So it's not
technically an issue. I am using the painting medium
from the other Ronnie for one of them to have only
the base of the painting. And the second medium I will be using is the
low order thin off. And then around me. The most
important question of all, what color should I use? There are many different color, different brands and
different prices that you might see that it
controls the quality. Usually brands are expensive
because of their name, because of where it's from. Not about to how the quality of the painting will
look at the end. For me, I'll use della
Ronnie is Windsor. There are some colors that
you have to keep in mind. You definitely can make
some of them whatsoever. Then you have to
get, for example, black, for example,
the white, red. I will let us do
the colors that I will be using in this course. Applying the right amount
of oil to the paint. My three challenging, however, in this course I will definitely demonstrate
and you can see how much of the oil and the color balance that you need to have a
beautiful painting. These are the only
supplies that you need to have a
beautiful oil painting. Moving on to the painting. But let's get something.
3. Sketch: So I have these seven colors, which is burnt umber, burnt sienna, yellow ocher, cadmium red, ultramarine blue, black, and titanium white. Now, I will be using
the thinner to do a very basic sketch mixed
with the burnt sienna, which is the lightest brown. To have a very transparent look. I will be using
this big soft brush to have a very rough sketch. Know the big particles of
how the eye would look. I will use a lot of them. Have a very thin layer of color. Once you see it's so thin, it's more medium then
paint, you know, it's the right way to
start your sketch, but let us directly
start with this sketch. We have our burnt sienna lot thinner to have a very
quick and easy sketch. Let's start with the circuit. You can see how easy it is
to have a quick sketch. With the amount of
thinner I have one. It's okay to have very rough
sketch at this moment. Just imagine how easy it is. So this is really
just basic sketch. Once you have this
first ice kitsch, now you have to start
correcting order to get the right shape
from how I see it. I think the I is a bit wider
than I first sketched. It's only gonna take like
three minutes to dry up. Because of the
amount of thinner I have potentially picking
another layer on top is definitely going to come from the mistakes
that I've done. The first, they're just, I'm just going to cut this off. Now. Orients around. You can define the shift. It's time for the darker tone, which I will use
again, the thinner, with a mix of burnt umber. However, it's gonna show
and it's going to pop because the color behind
it is much lighter. So this will be
like an outline for all the sketch that you
did in the beginning. Now, we have the
burnt umber ready for us to have a quick
outline. For the painting. You can see how this
takes place for showing the color
differences the painting. This can also be rough because we were still
in the sketching process. Now we can use the thicker lines to know where the
dark areas will be. Slowly render them
out to the painting. Now it feels like a pencil
sketch because we are using only one color
to the painting. However, I'm totally
against having a sketch starting with pencil. Because of the mess in those while you apply
the paint to it. Now, you have to apply guidelines for you to see
how the painting would look. The shadows from the I would be somewhere
around under the eye. This will be the outline
for the shadows. This would be dark. This will be skin tone. This would be light. Imagining that the
light is coming from this way or this way. It's not from down and
it's not from that area. Light is coming from this area. You have to know that the
light is also exposed here. This would be light as well. This is light. This shadow is
coming from up top because there are no
light contact here. This wouldn't be dark as well. This is dark. This is light. So the darkest shadow would
be on the other side, which there are no contacts, would light at all. And even in the eye itself. Applying shadow is
really important to technically under the eyelids. A shadow line like this, which signifies for the lashes that you will be applying in the painting,
you can't see it. So reflecting and applying
shadows and the I. So I will have some burnt
umber with less thin up, just adding more burnt umber to the thin out I
had previously. I will have definite thicker
columns to work with. This is definitely not black. It might look as it's black, but it's just a very
dark tone, brown. And it's definitely not
mixed with any other color. Just straight burnt umber. I advise you all to
always take a step back to know if you're
going the right way. Painting, you can see your progress much
but a bit farther. Because if you were focused
right into the painting, once you're done, you might not be happy
with the results. If you take one step back, you were too focused on the details and you left the dimensions and
the shape away. After having a step back, I noticed some lines
that I have to fix. That's why you have
to always take a look back to know what you
are doing is right or not. Now, when we're done
with this sketch, I usually use a paper towel or a towel to just wipe
off the excess paint. Might be in the way
of me painting and seeing the colors clear fluid tick either too bit
of burnt sienna, yellow ocher, mix it. A little bit more yellow
ocher, cadmium red. Now, it's a bit
turning a bit orange. We have to apply more yellow. There are some
people who prefer to mix with the palette knife. For me, it's more technical
to use brushes to do it. So the color doesn't always stay in the brush when I'm
mixing the other tones. The same brushes that I'm using. For the max. I don't clean it up. I just take more yellow, a little bit of white. That's a bit too much. I have to tone it down. More red, more yellow. This is beautiful. For me
to make this of the darker. I take a little bit of blue, ultramarine blue.
That's too much. So I have to take a little bit of this
color and apply it. Now you can see how the
dark color is turning out. This will be the darkest. This would be the color
closest to the dark. This would be the lightest. And definitely the white itself. Let's just start
with the darkest. However, now we are
not using the thinner. We are using the
painting medium phloem, the phone dialer,
Brown, bit thicker. What's better to have the paint flowing
into the painting? You want the paint to be thick. Don't want to paint
to be obvious. Let's apply the paint
that we just mixed. You can directly see
how the dark paint is, showing the darker areas, showing the shadows,
the painting. Now we will use the
second color we mixed. You can definitely
see the differences. Now for the lighter color, I will just add more white
to the orangeish color. Note that we can start
with the highlights. Now, I will go back to
the thinner just to have quick sketch like this. Not really wasting more time to make a full
painting out of this. I, just to know where the eye is not
just floating around. You can definitely add
a texture to the eye. To give you that sort of effect. Something like this. You can use any paper towel with any fabric that you don't need just to give you
that sort of use. The painting. Now that we have the blocking over
the browns in the eye, you can see the lines
are still obvious. And because this
brown outline is just to know where the colors, where the shadows
and where the I is. I will take this color, the darker ones I used in the beginning to shadow
the eyes inside as well. You might see that
Y equals y. I'm painting the icon that
are inside brown. It's supposed to be
white. Well, yes. But now we are more
focused on the shadows. Then p, right, Carlos. So let's just take a sec to figure out how
the eyes will look. Now I will use the
highlights color as well to take the night to
show where the light is. Moving on to the eye, I will use the
darkest tone here. For the darker
areas and the eye. However, I will add more
burnt umber to the eye. That's gonna be the darkest
and the whole painting. I have to keep that in mind. Now when we are blocking
the painting with paint, now we can have a little bit
of time to fix the painting. I noticed that the circuit is a way to bake and
what it really is. So now I have the
chance to take it down because I'm applying
brownish colors to know the shadows
and highlights. But I can also use this in
my advantage to quadrate my mistakes and get the
best out of my work. Just some quick, fast and brush strokes will help you a lot
to do find the painting. I'm a bit happier with that. I will use more verts umber, because it's dark area
for me to focus on. Okay. I will use white highlight is. I also noticed that there
is a reflection here. If the light is coming
from this side, eyes will definitely
pick that up. I will use more white the edges, more white edges. Keep in mind that this
is still a sketch. It's not, it's not nowhere
near the final painting. I ask everyone watching. Be patient with your work. Some people might
just do this sketch and it says they're
finding the work. But there are many different
steps that you have to take for you to actually get
the best out of your work? I'm still keeping my eye on where the shadow from
the eye that she says.
4. Blocking in: Moving on from this sketch by adding more painting medium. Now we can start using
the colors that we need. Let's take some cadmium red. This might look a lot. You will definitely use it
for the whole painting. Let's add some burnt sienna, more burnt umber. I think this color was
now ready to be used. Moving on to the lighter tone, which we will use the red that
we just previously mixed. Let's add a little bit
of Titanium white. Not that much. I think that's enough. Let's add some yellow ocher. It's more of the red that
we use in the beginning. More red ocher, more
to Kenya and white. I think that's good to go. Let's take some more
pure red right here. A lot of titanium white. Now it's gonna start actually showing the page colors that
we need for the painting. Now we have the darkest, we have the lighter. And they learn. At the end
we have our titanium white. Take a smaller brush now, you can start having the
final look for the painting. I will add the painting
media from Ronnie. Would the darkest
tone that's in mixed. Now we can see that the
painting is already dry. Didn't take few minutes
onto the painting's dry. For you to have a very
eye-catching painting, I have to focus on the shadows. These are one of
the most important parts of the painting. Having the right shadows but not the red colors
would even show the, show The paintings much
prettier than not. Let's move on to the lighter tone that
we mixed previously. I loved this type
of color because of the thickness it
gives to the painting. It's also different
from the darker tone at different from the lighter one that is going to be on top. I think it's enough
for this board. Now we will move down. For this part. Now you can see it slowly
blending with the darker one. Just so you can use the
sharpness of the painting. You don't want your painting
to look so dark and light. This color will show the
differences between the two. Moving on to the lighter shade, which you will
definitely finally see. The details, the highlights. We would like your
painting to look. Believe it or not, this color is not considered as
highlights yet. The highlights, I'm more focused on the pinkish
and whitish, Carlos. That's what it'll actually make the painting look much better. I can't even use this
paint to just blend in the darker with the color
we will add afterwards. Because that's the most
beautiful thing about painting. Once you are in a step, you have to start planning
what you're going to do next. What steps might taking next? It's like playing sports. You have to sort this, navigating what is missing. Using the same brush
we can mix and torn out this color
with the lighter tone. It might not look
that much difference, but it's going to take away
the sharpness that it had. Now for the interesting part, we will start using
the highlights. Adding the highlights
will just show you exactly what you were
building off the whole time. I love adding pink
to my paintings. It's a color that is not
that easily gotten mixed. Which makes the paint, which makes the painting
look more unique. Because not every artist
is good at blending and making the painting
pop using pink colors. We are still not in
our final highlight. However, it's gonna
start showing the skin tones much prettier, and you will finally see the
difference in the shadows. Now, when we blended
in these colors, you can finally see that this is lighter and it's
going to end here. We know that there will
be eyelashes here. You have to start
with the skin first. Going to the eyelashes. If you started with
the eyelashes first, you have to start painting each and
every skin separately. However, now we have the
freedom of blending, the freedom of finding the
right colors together without having anything to block
in between the paints. One of the most interesting
parts of painting is actually just
noticing the process. Noticing how the painting, It's coming up to life. Once you start going
in for the highlights, I consider adding highlights. Where will it be before
even adding the shadows? Because they are the ones
that make the painting pop. Guys keep in mind that this is not even be funded highlight, we will add plain
titanium white, which would make the painting
1000 times much split here. You have to be confident
with your brushstrokes. Just applying colors pointedly. Going to show the painting much more powerful than what it is. You might think to yourself, why is the white source
strong growth? Right now? It's not. It's only grant blend in. But you have to apply a strong and a fair amount of
white to your painting. You can't see it
actually working. Why it is the opposite of black. You have to have a
paint to rely on. Black usually takes the
spot and shows its color. The painting,
however, using white, it's actually needs
another paint to rely on. Now in this process, you can see that we took less time trying to
show the painting. However, most of the time actually took just
for the sketch. The sketch is one of the most important parts of the painting. Once you have this
sketch perfectly done, you don't have to really worry about how the painting
will look next, because you actually got it
all ready for you to paint. If you have a blank surface
and you just start with the shadows without thinking beforehand of how the
painting would look. Would it look good? I don't think so.
But now that we had our perfectly sketched I, we know that the painting is
gonna look much prettier. Once we apply the columns. We can add a little touches to show that you have
a feel that it's skin. Few lines would do the
illusion of having a skin. Let's add the highlight. The, I think there is a little highlight
in the eye as well. Okay. Few lines below the BB. Let's add some few
nines over the eyes. Thinking about the lashes
that we'd be on top. If we add lashes. Very smooth painting
without any lines, without any texture, it's
not going to look as good. Because it's going to feel
like the eyelashes are floating above the eye. However, if you add a field
to the skin behind it, it's gonna look
actually behind it. Now, let's start
painting inside the eye. We wouldn't mix
some colors to show the grays and the little
bronze and the eye. Let's take more painting medium. Let's take off the colors
that we had previously. So the painting could be as thin of paints that we
want onto Lucy. The paint fade away. Let's
take a little bit of black. If we're black and white. Little bit off burnt sienna. Now we take the list
mixed that we did, which is Kim tone, and add it to this mix. This color might be off. However, this gray is
beautiful foreshadows. Now we have to find the
same color, lighter. How would we do that for me? This is the positive thing about mixing with the brushes.
Palette knives. I have the color and the brush. So I just take more white and mix it with
the brush itself. So you already had the color. This will be the exact
lighter color than this. We can use these two colors. Now. One of them is
great for the shadows and all of them is a lighter
one for the highlights. Let's start with the
darker color first. Now, with this color, you can even resize your
eyes however you want it to be bigger so you can
cancel this out. Here as well. Now you might think
to yourself it's too dark courts to grayish. However, it's not. Once you start mixing it. I added more titanium
white to the mix. I have done. I can slowly mix them out. When I'm painting it. I don't have to use much noise right now because of the
amount I used behind it. It's still giving me the
soft texture at the tail want that can't be easily
mixed throughout the painting. Now, I will add some cadmium
red to the gray colors. Just a soft blend
would do the job. We will apply this first
color that we used. This color to be precise. Highlighting the I will be. Okay. We can also use
the same color just to measure and outline some
areas and get painting. I know what it is that
this color is too bright, Wilton down with the same brush. I haven't cleaned it yet. Positive thing about this, you're not going to go away from the colors that are
on the painting because you already used them and you're mixing it through. I added more cadmium
red just for the eyes. The same brush. Once you develop the color and the painting that he desire, you don't even have to clean the brush because the color will stay with you throughout the whole painting to have a balanced,
beautiful painting. Now, I will take a plain black, I would clean the brush first. One, I think this kid needs
a little bit of time, so I will focus on the
eye itself for now. Let's resize the eye. What do we can? Because of the black? You can see a dominating the other colors
in the background. I will outline the circle. I know where the colors and where the
shadows would it be. We will use plain
burnt umber now with a little bit of Titanium white
with a very little touch. I'm just choosing
this color to balance out the black we used
in the painting. We can use it to redefine. It. Needs a little bit of resizing. As we know, the eyes
are not that sharp. You zoom in. You will definitely
see more than just trying to make it as less sharp as I can. Let's just add more
white to this codon. Let's continue mixing
the edges only black, so it can be less dark. We can have an area to work in. Now I will add the gray
we used here, the brown. Let's just blend
them together well, just soft touches to the darker areas where
you see it popping off. Now, when you feel that the
colors are evenly mixed, I would advise you to just
take some time off for it dry for it to feel like
a blank space again. We can it had eaten
every single hair. The eye. I can demonstrate
for you how it would look if we just started
with the blacks right now. I added a black with a lot of
thin up a very smooth line. I start with the eyelashes. For the eyelashes,
it's better to have references to work with. Eyelashes can be so tricky. The amongst might be a lot. You have to have reference
for you to work on. Lauren's. More right to ego the thicker and
longer to begin. We can start with
the thicker one. Now that we have our
first layer of eyelashes. The eyelashes are tricky. So we're doing it right after the painting might
be challenging. So we have to wait for the
painting to get dry. To start. Simply just going slightly
through it without having any of the wage or any of the white crumble link
inside the painting? I would advise you to start doing the stuff that you
can and having gets older. Just for the final
touches and the lashes, I mixed the same Karla
was a different tone. Mix, the same color
we used here. With a little bit of black. You can see the reflection
and the grays of them. Obviously it will
not be that clear. Blend them out. As soon as we put them in.
5. Highlights and final result: So now for the most
exciting part, which is adding the highlight and finalizing the painting. We can simply just use black for the eye lashes with a
lot of painting medium. For the eyelashes. I think this is a fair amount because let's just
try it on the palate. Yes. This is the
right amount of oil. You want something simple and the lines will
be clear and soft. Add more color. Just to give it a try again. Yes, this is the right
quantity we need. So I'll use a towel to
clean up the brush. Can use another layer. I will mix another color. We will use titanium white
for the last highlights. Though we need in the painting. This is perfect. Thickness. For the final
highlights shouldn't be fair. Let's be creative
with the Eichler. We can use a blue. Let's make a bluish in brown. That's some ultramarine blue. Some burnt sienna. This will look dark. Obviously you will add
more titanium white. Gonna look grayish right now. Let's add a little bit of blue. Blue color and beautiful for the main tones,
the mid tones. This color will be
perfect for the mid tone. So let's take more blue, more. This color will be useful
for the darker areas, which is a bit darker
from the scholar. Take more blue, some
titanium white. This is too bright. If I wanted to turn down. I don't choose black. Mix the same colors that I
did in the beginning. Blue. And now we have three colors. The dark then returns
the highlights. And finally, we can use the
white as a final highlight. Use fair amount of
painting medium. We don't choose to
thinner right now, because if we use
thinner right now, we will have a very
weak and thin layer of color which might
not be as strong. And notice symbol and the eye. So let's get started so we
can smoothly just applied the touches freely
without having any color coming in-between. Firstly, we'll go on patterns that we did
for the eyelashes. Now that they're dry, it's much better and
stronger for you to use. The black on top. Can see the difference. Now, we will start
with the eyes. Before that, let's just add the purity
volume black to the In a minute of the eye. It will be easier to
mix it afterwards. Let's start with the three
colors that we mixed. The blues. Going to start from the top, which is in the shadows. Now we will also use this
color to outline the eye. Now we will use the lighter
tone that we mixed earlier. We would still keep a space
to use the highlights. The lightest tone in the eye
to make it as 3D as we can. I think that's enough
for this zone. Let's get down for
the lighter one. This is perfect. By cleaning the brush. I usually use a towel and
just to take the color off. Now the color is still
in the rush hour. We're just using this
for blending in. Blend and self key. Don't press down too much. Just spread the colors
around softly and slowly so you can't really lose the
position of the color. We just want to move the brush strokes and make
it as smooth as possible. Now for the most exciting and important
parts are the painting. The plane, titanium white. This is all about confidence. Putting huge strokes of white. Just be confident in yourself. By applying these
types of colors. Just boldly. Go through the highlights. Now between the lashes, few touches, some in the eye. Now the highlights will
give the painting much one depth and a prettier look. More alive. Because we talked first about the lighting and where it is. So now we know that the
lighting is from here, so there will be
some highlights. Over here. You can just spread them around. We use the same technique
we used earlier, which is the Tailwind, will be some highlights
here as well. However, be as visible. When I first started drawing, I used my finger smudging tool. I used to do this. I actually sometimes
still use it. There are many better tools now. For example, the fan brush. I can use the fan brush to
apply these types of effects. Let's apply more white reflection, which I did. I added some lines to show the deflection of the
eyelashes and the eye. There will be some
highlights here. In front of your eyelashes. I'll add more painting medium. Now let's just enhance
the whites so you can see that it is a reflection
and the eyes watery. You may add a thick
layer of white. That is a technique that
I use in my paintings. I can show the actual color. I believe in use. The same technique. Further reflection here. Press down. You can't see
a full layer of colors. Just spread them around. Yes. Let's continue with the
highlights behind the eyelashes. Do some painting medium with a titanium white, a pure one. I had some strong whites here. The use of fan brush. The brush. We're just going
to spread them around. Let's just add more white
highlights in the eye. For example, let's do a line. I believe are needed two
more titanium white. Thinking that is enough. Let's add some more white
into the white of the eye. Now when I add pure
type of white, I will use the fan brush again. Just to put it down. When I do the line, the lungs thickness
will disappear but still give me
the lighter shadows. The tiny there wouldn't be a highlight over here
because the light is coming from up and the
shadows is like this. Really just press down
on the fan brush. Shake up, pulling
the color down. Now the painting is nearly done. Just some little touches
to finalize the work. More of the fan brush. This procedure, I'm just
trying to show the edges are, they shouldn't be that sharp. Just to give it that
dynamic look of having the deep eyes
and the painting. Some lines. The line should not
be that visible. Just to give it that
realistic look. We are done.
6. Project description and conclusion : For this class project, we will be focusing on the iris. We will use the color
combinations of dark blue, lighter blue to white. And including the lights and
the shadows and the I use the steps followed
in the class and the color mixes that
we used previously. You can use a bowl or any
circular object to outline the iris to have a beautiful circle that you can expand your colors inside. Make sure to share your work. Show me the progress. I'd be happy to see
the final results. Thank you all for watching. I am a trustee and I hope
you enjoyed this class.
Elyazart, A 21 year old oil painter.
