Portrait Painting of Sunlit Girl in Oil Colour Series-1

1. Introduction of the Class: Hi everyone in this course, which is based on the wild painting of a beautiful girl portrait, as you can see here, she has a sun lit light coming from behind. Actually, I will start with the block in stage of the drawing with the Romer and then start with the bigger colors of the portrait here. In this course, you will come to know like how to paint layers and layers of painting by using the indirect method of painting. I will be giving a world class demo of portrait, where I will be finishing each and every area to the, to its most realistic performance. I will also take a special care of the hairs, the nose, the fingers, and the dresses. And I will also show you how to move the brush in that direction of the form. How to mix the skin color to very close to the model here. And also how to paint a very realistic looking portrait. I will be showing you how to use the brushes, the mediums, the canvas and all those things. What were you waiting for? You can enroll the course now. Thank you. 2. Materials & Medium P 1: Hi everyone. Today I will be going to explain the different wild painting materials and medium solves. Okay, starting here with the paints here. Okay, So as we know that in wild paints you have two kind of variety. One is the student quality paint, something like this. This is a Vinton brands from non mutu, it is Student Quality brand. Then you have the Artist quality brand. That's why it's written here, Artist oil color. If you go to the art store, you can just ask them either if you want how much you want to paint. It depends upon that. The artist color is always a better choice. If you really want to see has a nice sense of a mixing. The painting looks more better with the colors and with the grays. Also, it depends actually how much you want to St. if you want to buy the oil pins. Okay. The second color which I use here, uh, generally for all kind of painting, or maybe some paintings also, is the rhombetral color. It is also good for toning the canvas to paint. Prefer not to paint on the white canvas. I tone on the canvas either, sometimes with the rhombus, one drop of black and some turpentine here give a nice wash on the painting, on the canvas here. And then let it dry for another 1 hour, 2 hours, or one day, at least the, in the next day. You can also start to look for many, many videos also on the Google of how to tune on the Canvas. Next color which I'll be using here, like I prefer to use, is yellow. It's a very nice cool yellow color for the portrait, for the landscape, for the still life figure painting, for abstract painting, whatever you name, this is a very good color yellow family. In yellow family, I have three colors on the cadmium, lemon yellow, which sometimes I use in the landscape painting the leaves, some yellowish greenish leaves. It depends what actually I'm painting a very good color in the yellow family, then a really chromatic one, which is really powerful, has a really nice sense of a chroma there. It's a cadmium yellow color as you can see here Michael Harding. It's a very good brand, UK brand for a good quality paint. The pigments are really good in this one. But I told you if you want to buy artist quality paint, odd student quality paint, that's your choice. Okay, In the red family, first is the cadmium red color. It's a very powerful color. You just did a small drop of that. Then you can just take a bit into the skin tone landscape painting or still life or whatever the painting you want a escape escape all these genre of painting, we use that. Next we have a very transparent color, a crimson. And it dries very, very slowly, but it's a very powerful shadow color. If you want to make the cards more warmer, it's a very good color for that. Then I have another color which is called the Carino, which again, is the same family of that, it's a certain quality. Okay. Sometimes I also use cardium, light red. One color which I prefer for using in the skin tone is the Indian Red. It's a very good color for the Reddit part of the nose, fingers, the elbow, the feet, the ears. It's a very good color to mix with the skin tone and you can paint with that Indian red. This is also very, really good brand. World Renown brand. Gambling, I think it's from Netherlands. They make really good paint also. I think this is from US. Gambling is from US. Now we have a, the only orange, which in my painting is the cadmium orange. I love to use some browns in the painting. I have different browns here. What is that? A very good color, again, toning the canvas, and also for the hairs of the brownish hair. And many, many shadows Color also is a burn number from Old Holland, It's a very good brand from Netherlands, Belgium, and they makes really good paint. Also, we have a transparent brown oxide, very good color for the skin tone, for the shadows, for making a rich, darker brown color. It's a family, there's also one called transparent red oxide. It's more brownish here and this is more on the reddish side here. Whatever you see in the painting, again, go with that. Okay, I also like to use different greens also, but generally I prefer to use like two green. One is a very famous green which we all know is the Viridian green, which goes for the portrait. Again, for landscape, it's very mus color. You can use a different brands. This is actually, I was a faculty member at El Academy of Art, Florence, Italy for almost like seven to eight years. I used to buy the color from the local made color. There's a very good art shop. It's called Zeke, which is very close to the mo of the Florence. Okay. D is from there. And then I sometimes I like to use some vibrant green color for my portraits, generally for the Caucasian skin tone. So this is the permanent green light. Okay. The blue which I prefer using for my landscape painting or for any other painting also is the ultramarine blue here. If I open my blue here, you can see it's a dark brown, bluish color. Then the other blue which I use here will be Sid Blue. See, I'm sewing you all the art materials here which actually I use in my painting. It depends, I don't use all these colors for all the painting, but sometimes I use only four or five colors. I choose from the painting which is the most important color, and then I pick it up for sure, I have to use white. The last color which I love to use is black. Many of the artists, they say don't use black because they will kill the painting. But I think the black is a very fantastic color. We can also make a black from mixing a burned timber or a burnt, any brown color, mixing with a blue color, we can make almost like a dark color. But again, black is a very powerful color to get a very darkest dark of anything. That's a very good color for that. And by the way, this is the ivory black. This is a cooler black. It dries very slowly. And then you have another is the warm mass black, which is really good for the portrait. Also, when you go to the art store, guys, you have many different paints. As you can see here, it's written here, pigment 7466 is the titanium white. They have taken three pigments and they make something like this. If you take the color like something like this, it is only written R108. That is the original pigment, red color. As you can see, my Te has become dirty only because the oil starts to come out. If you don't use it for a while, whenever you want to, the oil is coming out, shake that really well and then what will happen? The while will mix with the pigment and then it's really good to use that. Okay, So this is all about the color here. Okay. For mixing the color, I use palette knife and a smaller palette knife. You know, I take a pile of color and mix the color. I don't prefer using a first pile of colors with the brush because otherwise most of the colors will be in the brush. Only mix a four or five pre mixes of the color and then you can mix with the palette knife. Okay, again, this is easily available in all the art store. Okay. 3. Materials & Medium P 2: Let's talk about the brushes first, okay? For the brushes guys here. Whenever I start painting for the first layer, for the initial first or second layer, I prefer to use a Bristol hair bush hog hair brush, which has a hard hair as you can see here. This is when you see the shape of the brush. You have a silver, you have a flat hair here, you have a round hair. Here, again, I have all these brushes. Sometimes I like to use brushes. Sometimes I want to have a very harsh edges. I use a hair brush sometimes if I want to blend more than I used a Bristol hair brush. In the Bristol hair guys, you have a soft edges on both of the side. You have a sharp edges like this in the round is more like a round here. This comes in different different sizes. Whatever you like to use that you can ask. I also love to use fan brushes for making the color more even generally when I'm using the background color. I love to use the fan brushes here. Okay, this is about the starting of the paint if you want to start drawing with the brush. Also I prefer to use a smaller hog hair brush, something like that. It's really important to clean the brush nicely. Also, maybe in the other videos, I will also put that video there. Next is guys the second or third layer of paint. In that layer, I like to use soft hair bus, soft hair brush and comes in different hair quality depending upon the price of that. Okay, like as you can see here, I have this different soft hair bus. The cheapest one is this one is the synthetic soft hair brush. The expensive one is this one here, which is the mongoose hair brush. This is also a mongoose hair brush, it's a very soft brush, very nice for blending. Generally, we use for the second and third layer soft hair brushes. But the first layer bus, I use a hard hair brush. Okay, then this comes in also many different sizes. If you want to paint a smaller stuff, you can use a smaller brush if you want to go a very tiny one. Also, you can use brushes if you want to paint a tiny lips and nose or a smaller values here, you can use a smaller brush like this. It depends what actually you're painting that comes in like a Filbert here. It's drawn, drawn, drawn. You can also buy this in a flat hair also. Okay. This is, it's a red hair brush, I don't know what the name is. It's called a thin hair, it comes in ran shape in many different shape for the second layer of the paint. Final finishing of the paint. Also, I like to use fan brush. This is a very good important tool for anyone who want to paint. In the wild color guys, I have the hog hair brush for the first layer of paint, maximum second layer of paint, and then final finishing of the paint with the soft hair brush. Okay, if I have to give a big wash of color, I like to use the big brushes. It's a Bristol hair brush. This is a very good color for starting of the painting. If you want to just throw a big colors on the canvas and just lay it over, that's a good color for that. I also love to use the paper towels here. Cleaning of the brushes or one of my generally what I do here that I have four or five brushes in one of the hand, I will take out some of the tissue paper from here. I fold it like this. Then when I'm painting, I just mix the color. Sometimes I mix the color, wipe it off, mix another pile of color. If I see that my color is becoming too dirty, then I go into a small jar of turpentine. Rinse the brush, and clean it again with the paper towel, and then start working from there. Okay, the whole hair brushes, which is the Bristol hair or the many different nine names given. But look for a hard hair bus. That is what actually I am looking here. Then we call as, sometimes I also like to use a bigger tubes. If you are painting a lot, it's good to buy a bigger tube. We have brust here, we have a palette knife here. Next thing which I want to show you here is the base where you will mix the color. Whenever I have to give one day painting, then I don't want to clean the palette palette here. Then I like to use this paper palette. You can just open this, can take out one phrase from there and you can just start using from there. It is used for acrylic will based colors written here. It's while acrylic or water paint you can use that it comes in different, different brand. Also, some brand also sells in a gray color. That is also good because as you can see here, my wooden palette is more like a darker value. It's always good to mix the paint on a darker value because then you can judge the value nicely. Okay. If you don't want to clean the palette, sometimes you can use this paper palette. You know, it's very good for any kind of a paint. Next, I use here a palette here, a wooden palette. It's made from New wave, from United States. Here, it's very good for, to use like this. And then I can mix the paint on that, but it has to be cleaned thoroughly whenever you buy a new palette. Everyone first, a little bit clean with the turquentinelastat. After you've done all the cleaning, you have to put one or two drop of linseed, wilt it, spill it everywhere, but do only one or two drop only. Okay, And then spit it overnight. Because after a while that, when the palette is new, it has to become more softer. So you have to always lindi one or two, drop that. After a while it becomes a smooth area to mix the paint. Okay. And the wood also soak clot of oil, it's good to use. The linseed will also. Okay. Wooden palette or whatever you want to use the paper palette next. And the last is the medium. Okay, So generally everyone must be knowing about the linseed will. It's a very old medium preferred by many of the old masters and it's a very slow drying medium. This medium is really good too if you're starting the paint a lid since 50 years. These are two of the medium which is really famous. One is the liquid original here which is in the gel side. It's a very good medium because it speeds up the drying and also improves the gloss. Also what I prefer if I have an empty bottle here, I just mix one part of inside part of liquid and make it into a bottle. Okay. Whenever I use I sake it really well. Okay. You have this liquid original. Okay. If you say if you want to do a very high finished work, for a fine detail work, then this is for that one liquid fine detail like maybe the last layer where you're putting the texture on the hair or the skin or the nose, the libs, anywhere you're putting texture, you can use this as suitable for fine detail. Okay. And then the last thing which is the varnish in the market, you have a darvish, you have a different different kind of varnish. Generally, I prefer using this gloss varnish, sometimes I prefer using matt varnish also. Okay. It depends what actually you want to use, but I generally use the varnish after three to four months of drying the painting. Sometimes if it's a winter country, like maybe in Canada or Norway, Sweden, where you can give more time to dry the painting. Everything depends upon what climate you have in your country. Okay, this is all about the materials. This is the last thing which you do after you freeze the painting, after it's completely dry. You can just also Google it. How much time generally you have to give at least 21 month of two months of time to dry the painting nicely and then you can use for the final finishing of the painting. Okay everyone, I hope I must have a clear doubts about mediums, about this is a local linseed color, so if you're looking for a local made or a student quality one, you can use that one. But yeah, But thank you everyone for like watching this video. Okay, so by everyone. 4. Instructor Biography: Hi everyone. My name is Sisco Putin, I'm a full time professor, artist and instructor. The journey of Drawing and Painting started from Angel Academy of Art Florence, Italy under the guidance of Michael John Angel and Jared Chief Patel who was a brilliant student. He graduated from the Angel Academy in 2016. Afterwards, she became a teacher and instructor. And believe me, he was truly excellent. All his students loved him. They really, really learned, and they had nothing but good things to say about him. And his instruction as a painter, his work speaks for itself. He's really, really good. I have no hesitation whatsoever in recommending him to. After completing the program, I became the full time instructor there and taught numerous students from all over the world. 5. Drawing Stage Block-In: Hi everyone. Welcome you to this amazing portrait session of a girl using the oil paint. I'll be giving you a demo of this girl and finishing the painting using the indirect method. That is the layers and layers of paint on top of the one or 22 layers. As you can see here. I'm starting with a very general gesture on this stone canvas. I have prepared this canvas, uh, with Hombre black and Sem turpentine. I let it dry for under two or 3 hours. As you can see, I'm trying to move my hand in a very expressive way so that I can just create the gesture to this canvas here. That is how you should also start. I take a very se, amount of paint. The drawing of the girl has to be much, much lighter here. I don't use too much paint while I'm drawing. In my first guessing, as I progress into the drawing, I will for sure to take the pure color and darken some of the areas of the head. Whenever you start drawing, you just start with the general shapes. Even if you don't have too much knowledge of anatomy or you are a very first beginner guy, just relax. You have to just give time to just drawing the basic, basic stuff. Whenever you are sure that you want to draw very simple, simple stuff, you can express yourself in your most beautiful way right now. As you can see here, I'm trying to draw the angle of the nose and of the eyebrow. I also, you can see that how the relation of the hair line to the elbow line, elbow line to the nose line and to the chin line. You have skin look for the relation. Most of the time two things are same. Most of the time two things are same. Now as you can see here, I've drawn a line between the two elbow line which is passing between the, the film of the upper lip here. That is the center line of the face. You have two center line here. One is the center line of the circle with the eyebrow line. Then the center line here is between the eyebrow line. Between that elbow line. Now, as you can see how I'm looking for a general angle of the eyebrow to the nose here in the beginning, I'm not trying to draw the specific shapes. You should always start with putting some of the measurement of the portrait. And that will be drawing with the bigger angles, bigger shapes. Not trying to confine yourself only with the smaller shapes. Now, as you can see here that I'm trying to draw the angle of the nose starting from the eyebrow line there. The right of the nose is taken from the angle of the top part of the glabella sector on the left hand side. The glabella is the space between the two eyebrows. On top of the section of the eyebrow here, it's like trapezium shape. It's wider on that elbow line and then gets more thinner. More narrower when it switches towards the bridge of the nose. Now as you can see here, I'm trying to get just a general simple structure of the nose here. Whenever I'm trying to place the duct which is the beginning of drawing the eyes, I can also look for those. A connection between the gleb, between the nose so that I don't draw the eyes close to the nose line. Everything has given space to that. And that is what we need to understand here. That everything has a surface, has a volume to that as a specific position to that. While you're drawing, you have to focus only on that. The sense of the angle, the sense of the form there. Just drawing, drawing with a few lines, complete with this idea. Fully complete the drawing. Then where is the mistake or that is looking really good. You have to pin yourself really well in order to become a really good at drawing or painting. Getting the angle of the eyebrow here, as you can see here, how I am kind of outlining the face also from right hand side and also on the left hand side, understanding the articulation of the jaw idea. Then whenever I'm trying to crank the nose line to the filter, I look for the central axis which is passing between the era and the Filtrm forma. As you can see, how slowly I will get the illusion of the model by constructing the specific patterns. You have to really keep looking for the outline and get the angle right. Whatever you have to drawn before you have to connect with that. Okay, connect is quite important because that will give you the view and the way the model is posing the head. The mode is a bit tilting the head, the feeling is the most important thing in the paint. How to excite someone's feeling. Take your time. And also when you're drawing the no, you have to place from the angle of the eyebrow line because that is how the things are joined there. But yeah, I will keep drawing this drawing here and keep progressing up to the nice sense of a I hope you're getting some idea how to draw with a gesture, lines, and make yourself more free with the brush and the oil paint. Guys, I will see you in the next video, so by everyone. 6. Drawing Stage Block-In Continues: Hi everyone, Welcome back to this Anderson of drawing the portrait. Here I was using burn timber and a bit of liquid original as a medium to draw this portrait. In the first video, I was explaining about the gesture drawing and also explaining about getting the proportion right. Also, sometimes even to make the portrait looks more interesting al the gesture get into more of the rhythm of lines. Here I'm just drawing the darkest part of the hair. I'm drawing the lightest part still. You can do the both ways. You can draw it together or you can just draw separately problem. Then I can draw the light shape and shadow shapes. It's good to break it into a two different value zone, The light shape and the shadow shapes. I'm also trying to, a bit get into the gesture of the hands. It's really important that you rely, I'm totally on the photograph, you just start with something very, very simple that's very important. As you can see, whenever I'm drawing, whenever I draw the finger and whatever the neck which is, comes just below the lip, sa, I foresee the angle from there. How far is from that lip area? I know everything is linked here when you draw it. Trying to also locate some of the anatomy of the hands, the fingers, so that it fits correctly on that same spot. Also trying to get into the action of the fer, looking for the general, the gesture of the fingers, never to draw the detailed part of anything. The beauty lies in the bigger picture, the construct, the flow through lines. That is how you should start with very simple lines, not getting lost in small details in the beginning to be free while you're drawing, always try to find a rhythm in, into the drawing. That's very important. That means you're not completely copying the photo, just getting the flow of that, and that's very important. As an artist, you have to explore so many things. Now here as you can see here, I'm trying to get into the side plane of the chick area and the lower person of the jaw area. Also, I'm positing a bit of the hair here and there so that it looks more natural. Placement of the things is what we needed for the stage of painting. This stage can we called as the blocking the drawing stages. And blocking all the shapes and drawing it effectively with the curves, with the bigger, bigger shapes and with the bigger, bigger angles. And that is what we are looking for. Drawing the curve of the hair, also getting into the angles of the shoulder line, putting the placement of the top part of the solder line. And also drawing of the initial lines of the hairs getting into the joe of the halls and trying to express myself through these lines, which is really important here. You have to start with very simple. As you will see that as I progress with the painting, I will start to add more detail into that painting. Each area going to a very high finish here. When I'm drawing a, checking the overall width of the face and compare with the height of the face, that is also very important. These are important proportional ideas. Uh, you should draw and check. Draw and check. And keep just checking it and drawing it. Never think that if you're drawing starts to look good and then you say, oh wow, man, it's looking amazing. But no, you have to fool your mind. If you really want to draw amazing, you have to always draw in the state that, okay, let me find a mistake. I find a mistake. Okay, everyone. So I will see you in the next video, so by everyone. 7. Putting Big Colours: Hi everyone, Welcome back here. I'm still continuing with the drawing stage. I'll just put that, the Irish there. Looking for some of the smaller planes now in the lips and the nose, a bit in the face here, as you can see, I'm mixing some blue, transparent bron oxide and white here. In the section of mediums and colors, I will explain everything, all the pigments here. But as you can see here in this palette here, I have the yellow occur cadmium red, permanent green light, Alizarin crimson. I have this Indian red. I have a bit of Hombro also, and transparent brown oxide here. Taking white a bit of a brown and blue, brown and blue will make a nice of a neutral color. Even I make it more neutral by adding some white to that. Sometimes many artists, they don't like to use black. I just love using black. But in this painting, I'm using Alzheimer and blue and transparent brown oxide to give something like a neutral brown color. It's good to start the background color, you get an overall feel of the model. Also, you can also compare the other values. Also, as you can see here, I'm using a paper palette because it is much easier to clean. The paper palette is I can get a new of that, change that, and start working. It's good to use the paper palette. I like to paint here by just put the canvas on the wall with the masking tape, as you can see here on the paper palette here. Now for the darkest dark, I'm using black and transparent Bronxie. The canvas which I'm using here is ****, Belgium linen. It's a high quality linen. So, what kind of product you are using, what kind of materials are you using? That is also really important. Now, let me explain to you what I'm doing here. Basically here, I'm just stoning the hair with one value. It's because since the hair has almost darker value. But yeah, sometimes someone has a gray hair or a white hair, that is fine. But as under base color, this color work really well. I use generally romer color. You can also use a bit of black and a bit of Tspan, Brown, and Alzheimer and blue. Simply try to just get a flatness of the color. That's the idea as you can see. Just see here just time, kind of a massing the color of the hair, not doing too much of a small details. Still the whole idea is to just simply play with the bigger, bigger values and colors. Now for the hair using a yellow occur cadmium red there. The whole idea is to make the first layer a bit more chromatic, a bit more intense, a bit more saturated. That's how the color will, looks more amazingly when you start layering with the painting here. Putting a layer of same thing with the hair also here. I will continue with this video in the next one. 8. Putting Big Colours for Face: Everyone, welcome back here. Now I'll be starting to paint this ported with different different colors. Let me explain to you the color which I may have made here. I have used the light red color from Old Holland to get this five mixture. The first mixture is mostly white and a small amount of light red and yellow occur. Second, there is more of rate and a bit of yellow, ocher and white. Third, we have a bit of Homer Ltd yellow occur and white the fourth which has a mostly of rhomberg and white. Then fifth is the shadow color, which is the pure rhombus bit of cadmium red into that. Now when I'm looking here, I'm just trying to place something like a darkest value for now. When you want to play with the value range, don't try to start with two of light value. Establish the darks first and then we can get into the lights. Also, I'm putting some bread in the third mix. Third mixture has a bit more raw into that. I need to add some more red into the colors which I'm using. Because the area is mostly into the shadows and you need to have some gray, darker color for that area. As you can see how I'm looking for changes in the hues of the skin color. It's always good to paint something which has a bigger value range. Don't get lost into the small, small value shift. Focus on the bigger picture of the, of the figure for the lips. I'm adding some more red into that. The same col for the second one, for the chick. I'm using the number two swatches of the Col in that color already. There is a light trade, a very small amount of rober, if you want to put a bit of yellow ocher with mixed with white, will give us this kind of effect for the clearing of the colors at this stage of the painting is called as the dead coloring stage because there's not too much values between the bigger value shift, it's just laying down of the flat color. Take your time and establish a sense of a color for the whole face here. And chick is more red, nose, a bit more reddish on the side of the face, a bit more greenish. But these general swatches of the colors are really important for the fingers. Put some more into that. I'll cut this video. So I'll see you guys in the next video. 9. Putting Big Colours Continues: Everyone, welcome back. I was using all those different skin tones, a different part of the face. I was just putting a general colors for the skin, for the face, and for the neck area. Not looking for too much of a variation is still there. Just a simple, bigger value shift of the colors, different skin tone. You can also mix from different colors. Also you can also mix from other different yellows, blue and red. But you can just buy from the Vincent Newton Putting all these different colors have some white, a some yellow or some light trade from the old Holand Perman Green light, cadmium yellow, cadmium red. Burn Tiana and that. 10. Painting the Hair: Hi everyone. Welcome back. Now you can see here I've taken a general synthetic brush. A big flat brush and using some medium all over the medium which I use for overall painting is liquin, original plus linseed wild that is mixed with ratio of one is to one. I take one drop of the medium and can spread everywhere on the painting here taking a bit of Rb, a bit of black crimson also, and get the darkest L defined now of the hair for the second layer as you can see here. Con, brown bit of black also here and there. Getting that, the sense of the form here. I'm just getting a flatness of the color. Wherever there is a darker bit into the face or into the hair, I'm first putting the color, the darkest colors first placed and then we can go for the other different colours and trying to put some more, darkest of the values as you can see here on the photographs. That would also make the color of the hair which is on the or inside of the golden side to sign more because of the contrast happening between the shadows and the lines. Same thing on the top of the hair. Also, I'm putting a bit of the same color. If I see more darker value, then I put some more extra black to that. And that is how it starts to go from there, creating a simple flatness of the color. I will continue with this one and I will see you guys in the next video by everyone. 11. Putting Big Colours Continues: Hi everyone. Welcome back. As you can see here again, every time when I'm paint, we have to mix the colors. The first color, which you can see, it's a mixture of a small bit of light red, yellow Per also as you can see here, there is the lightest color I can see on the skin tone hair. The second will be a bit of rho, a bit of yellow, Ok, and light red. Why I use a small bit of Homer? Rho is a neutral color. The color much, much easily. Okay, our skin tune is not so chromatic. We need to understand that. That's why I'm putting still also the rhombus. Homer is less in the third, this pre mix here, taking more of the. Hm, small bit of trate, uh, pillow offer into that. In the fourth one is a Hombres, small bit of white. But it's very important that when you mix the color, you have from the values from, from lighter values to darker value. Okay. That's important because as the light will go away from the lightest area, form start become darker. And this is the last color which is a shadow color which is a mixer of pure Rhomberlusdd is the cadmium red here. And s I'm mixing the colors. Shaking the cabaret. Shaking. So, I'm really sorry for that. Now, take a color which is saldo color, that is a mixture of raber plus red as you can see here. Now, I'm doing the first painting of the face before getting into the smaller, smaller planes. I'm standing to fix the shape of that. Whenever you start to do a first painting of anything, the most important thing is your designing is and then will come as the bigger planar structure than the smaller planes. And how that is how you will define the form here using the local and some cadmium red color, you can just look for a difference in the hue. Also, as you can see that he is warmer because I can see on the left hand side, it's a bit more of a warmer hue there reflecting from the hair to the an area outside mixing some a bit of a fourth number color and then graying do the side plane of the forehead. Also coming to the bottom section of the face and creating and different values for the side plan of the face. You see how I'm painting these values. My colors are a bit on the, more on the gray side. Eventually you will see how I will make the color more chromatic here. As you can see, I'm putting some more green into that area. For that, I'm mixing some more yellow into that. Also defining the side pan of, of the facia fab. Creating some darkest bits of the dye brew using the shadow color, which is raw, plus a bit of red into that. Still for the nose, I'm putting some extra red color since the nature of the, the nose were on the red side. Also, as you can see here, I'm darkening the piece of the hair so that I can just the values so that the values on the face will look much, much lighter. Also making the nose a bit more on the red side. Taking the number three and number two color with some extra red red added to that. And with number two Cara, you can also lighten the side plane of the nose, either death, the Metia. I also modeling the form here and creating a bit of a round form into the forehead area, but a bit softening the darkening of the eyebrow section here. He also darkening the underneath of the nostril. Getting the saves correct. It's really important that you take your time. You don't have to go and try to make an exact value from there. And the painting works like this slowly, slowly. When I'll paint the final layer, I will make it as light as possible. Okay, so I will continue with this one. I will see you guys in the next video by everyone. 12. Variation of Light: We'll come back here. In the last session I was just putting some bigger colors for the different features of the face here. When I'm working under the eye socket here, the idea is to make a bit more warmer and get a bit of a deft into the eye section here. As you can see on the left hand side, I have a nice area for the left eye wear that will sit nicely. Now here, angus made the values a bit more lighter. Always there less contrast in between the values and the form should appear more three dimensional. The side of the face has some bit of a softening ages of the hair line which meets up with the skin that is pretty softer. Only softening ages of the hair line bit more softening ages of the nose. Establishing the side plane of the nose basically so that the thing starts to look more am here. After getting into the part of the eyelid here on top of the right eye. I've also bit lightening the top section of the eyelid, of the left side of the eye. A lightening the top section of, of the chic here. And also a bit softening the edges of the hair line woman. And it's really important how do you adjust the value here. Like here, I'm just using the skinker only, but I put extra red into that. A bit of a crimson and a bit of a red contact defect of that. The turning on the form here, this part of the area which on the geomatics, major and minor muscles are there on the side of the form. We can say it's much, much warmer. We. Taking a bit of a special care of the eye here. Whenever you paint or an eye, you first paint a general value of the, of the eye socket. And then you can go develop the values from right to left hand side because the light is coming from the, mostly from the right hand side. After giving a bit of a darker and outlining the main piece of the drawing which is shown there before that it was very initial and then it was very, very general, so I didn't bother to finish. Also, a bit darkening the lower section of the mouth here, and then lightening the right side of the lower section of the lips. Straightening the lower section of the lips. As you can see here, how the things are being placed nicely here a bit lightning the lower section of the mouth or the upper section of the space between the nose and the upper section of the lips. I always, most of the times I play with the five different swatches or the premix. If I see something looks more orange, I will put some extra red and yellow to that. But try to get really close to the values that's very, very important here. Also a bit lightning filling the values for the side of the plane. I will k here, softening ses here and there creates a bit of a more differences in the values. There also a bit lightening the lower section of the chin here, since it creates more of a powerful contrast between the background and between that area. Also, when I'm softening the ages of the neck here, it is done in such a way that the form really goes inside here and then it really comes into the lighter slowly and slowly with the movement of the values here. Now I'm just trying to put a general color for the ear. So we're painting of the hell and then we'll be getting into the understanding of the here with the color. You can see how the knowledge of this sphere is really working here. Form turns and then becomes more characterized. It goes away from the lights. You can see how there I'm painting the ear, everyone. I will continue with this video and I will see everyone in the next by. 13. Variation of Light: Hi everyone, Welcome back. In the last session, I was putting some variation of the light into the face. As you can see. I'm trying to put a darker value inside the planes of the tear duct as you can see in the model. Also how the shapes of the eyes are defined whenever you're painting from the model, try to achieve a simple bigger shapes first. Don't try to complicate yourself with so many of smaller things. Smaller things are built on the bigger things one needs to master. The bigger shapes, the bigger colors, the bigger values first. And then eventually can focus on the smaller values here and there on the right hand side of the eye socket here. I am just trying to put some more lighter bit of the form here. Also turning them onto the right hand side with some middle tone color. I'll see when I'm mixing the colors already, I have a pre mixed color use of rate yellow occur. And Homer and white in the beginning of the colors, I put more of white and Ltr bit of yellow occur. Eventually, when the color becomes more darker, I use a bit more of Homers lit and yellow occur again. This is one way to paint a skin to, there are many, many different paint the skin tone. You have to, you should know at least four or five different ways to mix the color. Because if you're standing underneath the sun, a skin color will reflect differently. If you're standing in a room surrounded by a blue curtain, the color of the skin will appear differently. The color is influenced by the surrounding colors. If you're standing on a green field with a lot of chromatic green and a lot of green will bonds into the skin color. Skin color will go more onto the green side if you're surrounded by red flowers in the field. And the red flowers will kind of bounce into the skin. In the skin color will look more under any side. There is a local color of the skin color, like I can see in this model has has a fair skin tone and then there is a local color which is influenced by the surrounding colors. It's good to paint from something a lighter values and slowly going towards darker and or in the beginning you must have seen that I put my darkest value as a non. Non is a Japanese world where you just give a marking of the value. It's called as a T and it's not a Japanese word. While painting this portrait here, I'm experiencing that how the edges of the hairline must be softened so that it appeals that it is more on the natural side here. As you can see that I'm putting more of a, uh, uh, a usual reddish color in the skin to only I'm mixing more of the red color. That's how I change the values and shift the chroma. Also, as we know that the color has three properties to it. Color has a hue, red color, hue is yellow, blue or green, violet. And every color has a value like how light and dark compared to the lightest and the darkness of the colors. And then you have a such, you have a chroma, you have a intensity, the strength of a color, uh. The titanium white has a lesser stint than the cadmium yellow, yellow has maybe a lesser stint than the cadmium red color. What appears to be more on the intense color strength of a color is more on the cheek area, a bit more on the lips area. You put more of the intense color into that. And that's how you have changed the chromatic or intensity of cessation of a color. The form goes away from the light, the color tends to loosen the chroma, It starts to become less chromatic. It starts to become more on the gray site. That's how you paint. Any color can be made gray using three components, which is the most important one on the gym. The value of that color, if the red color has a number five and if you mix color from white and black color, mix that, say lose the strength of that red color. That if you have a darker color lamar in blue. And so you can mix a value number eight or seven with black and white and mix into that. And then La become more on the grayish blue color. That means that has loosened the strength of the color. That has loosened the saturation on the color. And that is how we look at the model. And wherever we see the color has more strength. We try to put some more color into that. And that's how we paint. And that's why you can see in here also in the lips, I'm putting some more extra red because it has more strength there in the cheek also where I'm putting extra red color. And that is how you paint the paint. The color nuances are very important when you paint something. Really establish your self. You know, painting really good here and then a casino. How? I'm also a graying down the color at the space between the nose and the upper lips. Sometimes we see it is more greenish on the male side, that's fine, but us paint too much greenish on the women's side. Look, look so feminine. That's why we need to a bit more put on the gray, reddish color or the yellowish, redish color looks more natural to the skin and the painting looks good to the eyes. Also, wherever I'm painting these colors, I can just put one dab of color, cha, the values from there. You can change the shoe from there and then you can start painting further from there. It's all about how do you mix the color. That's why in the beginning you must have seen that I have done five pre mixes of the color. Then according to the value, I changed a bit more hue into that Premix something is more yellow, I put some more yellow, something is more reddish, I put crimson or some reddish color, like cadmium red color. If something is more greenish, then I put a bit of the fermin green light. But I'm always going with the value, I'm always going with the form and looking for predation quality into the painting. That is what I'm doing s, if something is looking grayer and I'm making the color more greyer, but then I told you that everything has a value to that. How light and dark is compare it, that's very, very important. A so right now you can see how I'm dating the values. I'm kind of for placing these colors in a sequence order. You know, and that's kind of really important. You know, Sometimes I like to use a fan brush to soften the edges of the outline so that it appears more natural. In reality, most of the edges are softer in painting the portrait of portrait or any figure drawing or painting. The edges are much more softer in nature. For that, I think fan verse is really good if you want to make it a bit softer there. As you can see, I'm putting a general color for the A, putting some more red color into that. So it looks like a general skin tone color in the beginning. It's good to put a general color and then you can build some lights and dark into that. And that is what I'm doing here. I'm picking some more lighter and darker here. Okay. Even so, I hope you have learned something from this video. And I will continue this video in the next video. Thank you everyone. 14. Anatomy of the Hand: Back to this another session. In the last video I was skinning about the color hue and saturation. Now here I can see that, again, mixing the skin tone color using some white light and yellow occur for the first value. In the second value, I have some light, a white, a bit of yellow occur. Then we can take a bit of a but just to interpret lessen the chroma of the color in the strength of the color. In the third one, I will take more of Homer and very light in local white, darker color, a bit more lighter there. In the fourth one, I will use maximum Homer small amount of white light locy stone color. In the last one, I will mix a shadow color where I will put on a bit of red into that. Now you can see that I'm trying to get into the local or of the hands and fingers. So before going into the inside of the colors, I'm trying to fix the outside safe. First, I'm trying to draw the outline underneath the chin area. On trying to draw the fingers, understanding the anatomical landmarks, knuckles, the bones, the carpals, metacarpals, trying to think how the bones are designed there. And then drawing the outline of, of the fingers by understanding a bit of the curves and gesture there. Getting into the side plan and thumb, and defining it in really a good way and also understanding the construct of the thumb are really getting into the process of painting. Here I will continue working on these anatomical landmarks of the hand and the fingers guys. I will see you in the next few do. Thank you. 15. Variation of Light Continues: Hi everyone, Welcome back here. In this video I will be painting the hands, the neck area. As you can see here, I'm trying to create some of yellowish darker values here for the underneath of the, for the neck area. The color is more on the yellowish brownish side in the fingers. I'm putting some extra crimson and some red and making a bit on the red side for now. While painting the finger in the middle section, I was just using the outline. I take a point and burst with some rhombic and drawing the outline of the finger, that happens quite often that you lose the outline. The form when you establish the form there to also a painting, the side pin of the hand, Some skin tone color, some red and some yellows. As you can see here, a defining the wrist bone. There also side painting. The side pin of, of the fingers here is a bit more warm. I'm trying to put some more warmer color there. Now paint, painting a bit of a lighter skin tone color. And then lightening the top section of the, of the fingers, creating some volume there. The room back shell. Then trying to put the general skin tone of the hands. Putting some underneath cast shadow which is cast onto the chest. Here. I know how slowly stoli, I'm building these forms. I'm creating those sense of the building the that didn't rest their greetings on the local color for their And then creating that cycling of the out of the iron, creating that a bit into the form here. Also lightening the form here from the front plane. You'll see how loose I am in this process of painting. This is called the second layer of the paint, also call the first painting. Then I'll go for the final layer, which we call the rendering. I will be giving a finish to the painting and we'll see how I paint each and every areas of the paint. The light is coming from the backside of the neck. The sun is hitting there, so it's much cooler and lighter and that's why I'm there for swaying there. Painting a general color for the back ground now, darkening it, getting a bit on the gray brown color as you can see on the photo here with the model. With the model also here, how the thing nicely with the sequence order of the volume and the value is there a bit darkening the form here, also a bit lightening and making the background a bit more on the lighter brown side. A bit darkening these values here. So that the eyes is casting a shadow onto the chest here and the cast shadow is more darker than the form shadow. Okay Evans, I hope you have learned something from this fed, you know like how to give a gender local color for the hand and the chest and the arms. So I'll see you in the next foo. 16. Anatomy of the Hand: Back to another session. In the last video, I was skinning about the color hue and saturation. Now here I can see that, again, mixing the skin tone color using some white, light and yellow occur for the first value. In the second value I have some a white, a bit of yellow occur. Then we can take a bit of a just to interpret lessen the chroma of the color, the strength of the color. In the third one I will take more of Homer and very less of light loche color, a bit more lighter there. In the fourth one I will use maximum Homer, a small amount of white, light and locy stone color. In the last one I will just mix a shadow color. I will put on a bit of red into that. Now you can see that I'm trying to get into the local of the hands and fingers. So before going into the inside of the colors, I'm trying to fix the outside safe. First, I'm trying to draw the outline underneath the chin area. Man trying to draw the fingers, understanding the anatomical landmarks, the knocks the bones, the carpals, metacarpals, trying to think how the bones are designed there. And then drawing the outline of, of the fingers by understanding a bit of the curves and gesture there. Getting into the sight pin and thumb and defining it in really a good way and also understanding the construct of the thumb are really getting into the process of painting. Here I will continue working on these anatomical landmarks of the hand and the fingers. So I will see you in the next video of you. Thank you. 17. Second Painting the Nose: Hi everyone, Welcome back here. I will just continue from the last video on where I start, I always put the medium, medium I use is liquid original and Linux to the ratio of one is to one. Now I'll start with the second of the overall entire painting. Right now I'm starting with the eyes. And the whole idea here is to paint the form a bit more like the way it's looking into, looking at the model here. I will try to fix and get the shapes correct. I will try to fix and get the form correct. Now you can see here, I'm trying to make the edges of the eyebrow and which is merge with the, with the hair a bit more close to what exactly appear after the model here onto this photo here. And now designing the form here. Now as you can see here that I'm trying to get the exact shape of the model. Which I can see there on the model face onto the right side of an eye. Then before getting into the eyes also I'm trying to build the side plane of the nose. Trying to build in such a way that appears more warmer, more redder. Trying to darken the outside edge of the nose here. Trying to build a form in such a way that it appears more close to what it appears onto the model here, The curve and the straight line of the outline articulation. Once, literally look at it carefully. If you are having a hard time in getting the articulation correct, try to see as an individual simple shape, like a shape of a question, a alphabetic letter. And don't try to see as a nose, you should look at the shapes. And then while you're modeling the form, you need to turn the brush according to the direction of the form, which leads us to get a three dimens form. By changing the value, by changing the hues, and setting up the chroma of the different different colors, we can get the desired result of the painting here. As you can see here, how I'm looking at the side plane and underneath the left side of the nose, trying to establish a different, different planar structure, which will make it to appear more of a three dimensional form. That's how you paint something more three dimensional. It's not that coincidence that we want to paint it in. Anyway, you like getting the underneath planar structure of the nose. Trying to understa establish underneath the nostrils and establish the form there also greeting the sense of the form A, establishing the runs of the form and defining the overall values and color in such a way that it looks more of a three dimensional structure. You see how I change the hue and the value of, of the color and get into the volume of the nose here. See, it will take a time. You know, you have to really think about it. It will. It's not a magic, it's understanding process. It's a understanding of the values, understanding of the colors. The more you paint in, the more you know about that. But also very important thing is that how are you understanding each and every area? Have you practiced the color swatches? How have you practiced the color mixing? How have you practiced the drawing? Everything will come together and we'll get even nice sense of a painting here. I hope you've learned something from you. And I will see you guys in the next video. By everyone. 18. Second Painting the Nose Continues: Everyone, welcome back. Here, in the last section, I was second painting the nose and I was fixing the volume of the nose, getting it much more defined technology. You can see I'm looking also at the side pin on the nose or getting into the side, listen of the nose here. Try to always remember that you need to always paint with the direction of the form. Whatever the way the brush which will move the direction of the form, you have to change the direction of the brush. That's really important. Once underneath the nostril here we can say that there is a dark shadow shape is there. And underneath there's a light bones section of the that has also a small round for that ring like form that is also important. Anything which you want to paint has a top plane, side plane, front plane, underneath plane. And that is what you need to establish when you see anything into the painting world. Everything has a planar structure to that. So take your time, take your, take your time. And trying to really establish a sense of the volunteer to my adorns of the form you. Whenever I'm repeating these small, intricate shapes, it is very important to look and make it look more natural. Okay, that can be done. A smallness brush, you need to really establish a subtle segment of the values here. To paint in such a way that it appears more three dimensional form, you need to establish a bit of a volume. Also, every aspect of painting, like the drawing, the volume, the colors, the edges sharp and soft is. And then the last thing is the texture. In the second painting, you just develop everything what you need to be done because that is the final layer of the painting. It has to be getting the Tams quality to that. That's why it takes time to paint a second painting of anything. It really establish a sense of the volume there that is pretty, pretty important. Establishing the side plane of the nose which is going to meet with the slanting plane of the cheek here. That is how I'm moving the brush. Also changing the value, changing the bit of the hue and trying to move the brush in that direction of the form. Everything has to be established in its best possible way. And that is how you establish a Thms quality to the painting. And indeed the section of the eyes also, I'm establishing a volume there and you can see no how subtle and low is the movement of the values in the, in the face, you know. Uh, and it needs two or three layers to establish that sense of the softness and the subtle movement of the colors into the no section. That's why it takes time to paint the final layer of the painting. And also very important is to always minimize the contrast. Because if you want to make something more natural, you have to always lessen the contrast between the two values. And that's why it then look more natural. So I hope guys, you learn something from this video. And I'll see you in the next video. So. 19. Second Painting the Nose Continues: Everyone, welcome back. I was sec, painting the nose in the last video. Right now I can see I'm mixing the same colors here and creating a bit of a volume. The top section of the nose a bit more lighter as a light is coming from the back side. But since C is very fair, we can see that volume happening on the section of the nose here. How it appears to be more of a raw form, a bit softening the edges here and there. Feel it, you think, in then. A bit of lightning underneath four planes of the nostril here. A bit lightning and smudging the round form of the top section of the ball of the nausea. It appears to be more three dimension forma. And also looking for that sense of the volume there, the top fixing of the nose has to be a played nicely. Now let's deal with the second painting of the eyes in. What you need to do here is to first paint the tear duct here with some skin tone color. Sometimes while you go painting the eyes here and there, maybe sometimes you need to come to the no section of established really a nice sense of a volume there that's really important. See the, the area of the sclera, which is the wide portion of an eye. I'm painting with some blue color, skin tone color and establishing that the sense of the volume there. You see how I'm building the sense of the form. That's why it takes 35 layers to paint, to good layer where the things start to look on the finished sides. That's quite important. Once we establish sense of the volume here, we need to establish the sense of the form mode. You can see there still adjusting some of the heroes and the values onto the section of the top plane of the nose here. Sometimes it feels that it starts to look better, but there's so many smaller things are hid in that really focus one area at a time and really established the sense of the volume. This is the side pin of the nose and also the hair is also a casting a bit shadow there, a bit darker there. But again, it's very important. How do you in analyze the sense of the form here. I like to paint more on the natural skin. Not painting it too chromatic not painting is too gray also, which the natural thing looks pleasing to the eyes. There has to be a mal, there has to be some gray color. It's not that you put too much of, too much of gray in to be balanced with the sense of the gray and the chromatic color. That's how the skin tones are made there. Establishing the underneath planes of the eyes and the space between that, between the eyes and nose. And try to build that sense of the volume there, adding a bit of red and both of the red color. Okay everyone, I hope you're understanding The Sims next ever by. 20. Second Painting the Eyes: Everyone will come back. In the last section of the do, I was painting the eyes, starting with the eyes only. Now let's go and build the eyes nicely. Get the shapes, get the form, get the subtle nuances between the sclera and the ones in the pupil. And get the eye lashes warmer of the, and try to make it more of a three dimensional form happening there. Whenever you're painting the Irish, you have to just paint with a general local value. First a lighter value, then you can make the pupil a much darkest value. And then again a bit make it more lighter for the highlight close to the pupil here. And right now I'm kind of looking at the volume here of the eyes, getting a bit of the form here. We can also put some of the color into the tiered up. It's kind of really important. And then of a painting, this Clara here a bit, lighting the value there. But in the beginning, no, you have to make it a bit more darker and then eventually you make it more lighter because it's all about getting the lesser lister contrast between the values there, adding some blue to that and kind of getting the highlight of, of the form here. Yeah, Ting a lighter value there and then you see how I make it more lighter in the beginning then just control everything. It takes time and that is how everything is designed and planted here. And then according to that we can create a following. Whenever I'm painting the eyes, the idea is to just paint from the darker value, from the left hand side towards a lighter value. And then we know that underneath that eye, it's eyeball, It has to be more on the circular motion. That's why every time I'm thinking of that you can do on a really good painting when you have a bit knowledge about the three domin, how the plane changes from one side to one side. That is how you will change your brush, you will change the direction of your brush stroke can amazing for you. So that you can really translate your painting into three dominical form. As you can see how I'm kind of looking at the value system here. The reality is that when you do painting from a photograph, there a contrast fallows everywhere. If you paint like that, it's not going to work in the painting. The painting works in the Seqs order of the value system. That's what needs to understand here, that it's not about copying each and everything. It's about taking the ideas from there and creating a sense of a form there. That is what we are up to here now. We are trying to get that, the sense of form here a bit. Understanding the roundness of the sclera, which is the white portion of an eye, and then trying to locate the angle of an eye. You need to always find a balance between the values of the surrounding the eye here. Since the ra, the Irish people is so dark that the values around that you cannot paint too lighter because it will become Omodeling's situation in which we need to stand here, Tim. Particularly really looking at the, at the angles there, the curves and that is how it is well balanced from there, you know. So we'll try to build up the lights and then kind of a judge how well we can establish that the roundness on the I building that inside planes of the upper eyelid here, then it really goes inside the socket area. When we second paint, we look for all those features of how well we can paint the street, amends and quality of anything that will come with understanding of the top plane, front plane, all these planes, the materials, the edges, everything will come together and look for a my sense of painting, taking a bit of a time to can look at the phone where and can look and try to decide this movement of the upper eyelid into the right eye here, I'm trying to paint as natural as possible. Fix that. The things of the values, the colors, the shape. It's take time to develop that idea. Like you don't just go and start painting. You need to understand the form, the structure, the mason quality red. And then you can paint. You guys, I will see the next video then, bye. Thank you. 21. Second Painting the Cheek: Hi everyone. Welcome back. In the last section, I was finishing the eyes and before that I was finishing the nose. And as you can see that when I'm trying to finish, get into the other areas of the painting, I'm putting some medium. You know, because since the layers has been dry here, you can use any in brush which is like the hair is damaged completely. A soft hair, synthetic hair bush as a medium. I use a liquid original and inside is to one ratio and put in a Zar bottle and shake it very well when I'm using the medium. Hair artists also prefer only a walnut til. I like to use a incid plus liquin original to the ratio of one is to one. We have a white, yellow bit of red color and to the maximum value of lightest value, these premix before also you can use an Earth, you can use Earth yellow. And something like a neutral color which is as a not because that gives a sense of a neutral color to the skin tone here. The third color is a bit more of raw, but less of light red and yellow occur and a bit of white into that. A bit of a light red for the shadow color. You can also use a pure raw but plus a bit of cadmium red. That is also fine. Here I'm using transparent brood and mixing with some black and crimson color. Then I want to have the darkest, which is inside the hair. There is a form, so there is also a shadow. The overall value of the hair has become darker because it is coming from the against the light source a bit, darkening the outline of the form here. Darkening the value into the cast out of there. And creating the sense of the value system there. Tightening the shapes of the form, the outline here so that inside the think looks more natural. The turning of the form is also very, very important here. The turning of the form onto the lower section of the chin. But most important here is to get the articulation correct by that also getting close to the likeness also. And try to even make it more beautiful than what is the face which is in, in the photo as more of a, a subject from where which we need to take some of the things that can for not to paintings and everything paint in such a way that your painting looks like a painting at, shouldn't look like a photo. As you can see how I'm trying to transition the edge of the nose here. A bit of a tightening the shapes here and there. And that is how one should get really used to getting the values right. Getting the hu right, getting the sense of a drama right. Painting the side plane on the face is also really important. You need to a bit soften digester is touching the outline of the face and it goes back into the space. Okay everyone. So I think I will continue working here and I will see you guys in the next video. So bye everyone. 22. Putting Big Colours Continues: Everyone, welcome back. In the last section, I was I didn't thing the side play on the cheek here. And the one thing which we need to understand here is like I have it is to really on top, Nate, I was just spending the sighting of the chick, Hello, Shah, which is a bit warmer because the shadow from the hair is being reflected on the side pin of the check. Some of the warmth is also reflected on the left side of the chick. As you can see there, it has some more of orange and some of raise orange flavor there. Look, she also, we need to blur the outline ages of the cheek here because otherwise it seems that it is a, a very sharp edge and it will not look very damson. You need to always soften the edges out, line edges so that it recedes away from you. And that it looks more treason for yeah, it's a continuous process to soften all the ages because you just cannot go and do it in one go again and again. And incidentally become really softer and tend to go away from the planes of the mouth because the mouth is more close to you than the side of the face. That is the which we have created while we are painting this portrait here in the sitting. Yeah, softening and blooding as is here. This one will. All what we see here is the illusion of three dimension, form and painting it with it, creating a tree dominion form is one of the most important aspects of the painting. So soften ages and paint in such a way that everything appears to with three damson form. Here we the lower section of the chin. I'm modeling it with a round form. I will continue working on this way you guys. I will see you in the next video by everyone. 23. Second Painting of the Lips: Hi everyone. Welcome back here. In the last video I was painting the side pin of the chick here on the left hand side. And as you can see that I've already mixed the pre mix of the colors using the light traded yellow occur rober in photo. What happens? That the light looks too light and the dark becomes too dark. But when you paint like that, it will not work because that is too much of contrast between the values. We need to suppress the value. And paint with a sequence order of the value. And that is what I'm doing here, getting to know the values of the darkest part of the lips, and also looking for the articulation of the lower section of the lips. What is that shape of the darkest part of the lips? Just look for the shape. Don't look for anything like you want to make a better lips and no rest on the thing. You have to focus only on the bigger impact. That is what we're doing here. Now, the volume, the shape of the lips here, you know, from darker to the lighter bits of that. Also trying to paint the, the lower section of the lips here. In the beginning, I'm just looking for a very general local color. I'm not trying to look for too light and dark in that area. A general reddish lower lips. And then I will look for another different values in the beginning. It's good just to go for a general value, not to put too much of a and differences in the values. Try to look for a general value and try to fix the shape of the lips because the shape is really important. And then when you start the modeling, then you have to really look for all the edges around that lips. Softer, sharper, and then creating a different values will create a three dimensional form of the lips here. Yes. As you can see how I'm trying to put the lighter part of the lips here, creating that sense of the volume. You know, uh, the volume is very, very important here. In the skin to, I'm just putting some extra red color And then getting those lighter bits of. The only thing you have to do is that you have to put extra of cadmium or some crimson color. Just look at the model lips and then try to build the understanding the hue of that mix. A separate red color. The lips is also part of the skin on. You have to mix premix of the skin color. Then you have to mix the red into that. That is how you can see that. I'm trying to build the lights and the form here by trying to turn the form should take a special attention in kind of defining the form here. That's very, very important. Understanding the value is also really crucial here. See I can also paint the open lips also just to put an extra, a bit of the white into the dark area. But every time I don't want to go and copy the model from the photo, sometimes I change it so that the painting looks much, much better and nicer. Again, it's the artistic freedom which you need to understand. The photo is just a reference for you. You can see that the color, what I'm using here and the color which is on the, I want to paint it more natural. And that's what I'm doing here to try to build the form in its most beautiful way and simplest way. And then, you know, you can really focus on the form here A, and take a special attention and care of that. That's really important here you can see how I am arranging the shape of the fingers, of really looking for the articulation of the lower section of the jaw here. The chin here, See I took a lot of time in soften that edges, you see, because that's very important. Because it has to willing, go back into the form. And the lips should come forward towards, you know, that we give a three dimensional form to the painting ear. So take a special care of that. That's very, very important. Then you can see how I am trying of looking for subtle values underneath the lower lips here, trying to create that T three dimensional form. Getting the volume here. Getting a three dimensional form. And you can see how I'm moving the breast also. I'm trying to visualize that it's a round form here. The ronperical form is there. I will try to try, but I'm moving my hand in the circular motion that will give me the illusion of that three dimensional form of the chin. That's really important, that's why I keep blending those values, those colors so that it starts to appear more of the three dimensional form. Okay everyone, So I'll continue working on this one. And I hope you've learned something from this video. So I'll see you in the next video, ever so by everyone. 24. Second Painting Around the Lips: Hi river. Welcome back here. In the last season, I was painting the second painting of the lips looking for a three dimensional form into the lips here. The space between the nose and the filter is also very important place. But you can see that there is a bit too much contrast happening into the photo. But I told you that when you're painting something, there has to be less, a bit of a contrast because the values are close to each other. So subtle that if you paint too much changes in the values, the eyes will go there, see, we have to paint contrast also, but not everywhere where it is needed. Then we can paint the contrast between the different values because gives the focal area that your eyes automatically goes to, the area of the focal area because of the contrast as you can see on the background of the hair, the orange light with a dark shadow, how contrast that is. And then the eye is focusing there. That is also very important, but not everywhere we need to understand that. So just looking for a different values between the film and that's really important here. You can see how I am also building up the, the lights here, you know, and up the volume is really important here. That is how you can see that. I'm still all the time, I'm fixing the value, was looking for the planar structure. That is how it's really important to deal with that. Also very important is to move the brush according to the direction of the form because It's like whenever you are painting, whatever you're painting, it is just like you are making a sculpture of that. You are looking at the form in the trimester form, the planar structure. So side plane, front plane, top plane, underneath plane. And that way you are taking the colors and the hue and the value, shifting the chroma and turning the form from there. And that's what we're doing here, looking for that, the volume into the lips here. Everything has to be painted in such a beautiful way that the beauties could be revealed into painting. It's not about painting everything. It's all about painting that much. Where things looks really amazing and beautiful. And that is what we are looking here. That's really important Also, you can see that how I'm making things more lighter, brighter. That's important concept behind that, we are making a painting, we are doing a visual poetry onto the canvas. Every painting you do, you have to put your full attention, your full heart, your good thoughts, being in that positive energy and all that. Things will matter for you. Because it's not that how draw and how well you can paint. It's all about what are you thinking at that moment of time, that filling will be transferred onto the canvas. Also, the people will start feeling that emotions into the painting. That is how the person to person relate. That's why many artists has been there. But only few artists. People can relate their work. Some are famous, some are not famous. You really feel it when you see the painting, when you see the visual poetry onto the canvas. And that is I'm trying to teach here, you know, it's all about making something that looks really amazing with a lot of emotions. And that's come with the honest approach towards the painting. The learning to paint in the beginning becomes a bit too hard and boring also sometimes. But after a while, you start to enjoy that much that you'll completely involved in that process that will take you to another level of your artwork. You have to wait until that time. You have to put your mind, if you put your hearts into that sense of the emotions, that's why the practice is needed. That everything is needed. Because as a human being, we keep learning all the time. We learn something from that artist, we'll learn something from other artists. And honest with our work and we keep challenging ourselves, that's a bit hard, but that is the reality ship. In the lower section of the chin, I'm putting a bit of gray color. I'm putting some green, some yellows with, mixed with that skin tone color. Because I want to make and paint something which looks more natural. I can see how I'm creating that sense of the volume in the lower section of the chain. Slowly, slowly, I'm making it lighter and creating that sense of the volume there every I hope you have learned something from this video of the information about the painting. I'll see you in the next video by everyone. 25. Second Painting the Cheek: Hi everyone, welcome back again. In the last session, I was painting the second painting around the lips. That is the chain area, the film area. Now let's jump onto the side plane of the chick here of the mandaba, starting with some darkest value there. Looking for that sense of the volume, first I need to create some of the darkest warm value there, some red color. And then looking for that general greenish skin tone color, I see something on the green side. Then I will add some green from the permanent green light. If I see something more of reddish color, I will change the hue and make it more. Then I'll keep following the value system also from light to dark as so everything is really important here. You know, mixing the colors with the different sense of the all the values is also really important. Looking for that transition between the values to the lower section of the chin appears to be more on the orange side, something more on the warmer side also, most of the time I've seen that, don't paint it too gray. Also, in the overall skin of the face, there are some warm area, there are some gray area, there are some yellow area. It's like it's said that the top part of the forehead is on the yellow side around the eyes are more on the gray side around the area is more on the warmer and reddish side. The nose is also on the red side. Eventually, when it goes down towards the area, things get more on the greyer side. You know, you need to understand these phenomenon of portal painting. Every color is same. Everywhere the feeling is the same because of the, we are mixing from the pre mix of the colors. But we need to understand that how the color is becoming less chromatic and how the color is becoming too chromatic. And that's really important. The volume is one of the most crucial thing in the painting that will come with a slow movement of the value. If you want to the thing to look something more natural, you have to go with the sense of the flow there and that's how everything looks more a three dimensional form here. So take your time, take your good time. Take a pretty good time and kind of really focus on the painting really well. You know that's really very important here. Write it in kind of also a bit brightening, the lightening the side plane of the chick here, or the slanting plane of the chick here. Look for the subtle movement of the values in the form. Whichever way the form will turn, you have to move the breast into that direction of the form. By changing the hue, value and saturation somewhere values are same, but the hues are different. You look for that, look for that nuances of the values, and look for that nuances of that color and how that everything is looking so close to each other, trying to paint a bit more, a darker, reddish color there. Eventually I will make it more lighter. But since that area needs to be more attention because of that, the gametic bone there, the cheek bone there, which really comes out, that is which comes out the farthest, you know. So we have to be careful about that. That is what I'm doing here. I'm looking for the transition of the values and also looking at the shapes of the model here. She has a short face and longer face and that is what we are trying to lock. That says the sense of the shape. What we're looking at the model here, look for the understanding of the values, you know. Man settle suit of the values also. I see looking for the subtle softness of the values also. And creating the subtle set of the values of the colors looking for that ran form. See, I've made the video a bit faster because otherwise you'll get bored in seeing ever and everything. It's better that you see the process and you try to practice that. You can send me any messages if you want. If you'd like to feel free to contact me. I have Instagram page, which is a underscore artist, you can just contact me. I will love to guide you and solve your problems. If you feel that I can solve your problem, be feel father that doing that edge well. So it's very important how you deal with the information here Tina could cut the Ron form is very important how you are dealing with the value and the form here because then only the skin color will look more natural. You know, I'm also putting some reflected light there and trying to build that sense of the volume there. Okay everyone. So I hope you have learned something from this video. And I will continue showing you the more second painting stuff. I'll see you guys in the next video, so By everyone. 26. Second Painting the Hand: Hi everyone, Welcome back here. In this session I will be painting the other areas of the face or the neck area. As you can see here. Like how I'm trying to build the form here. What I'm doing here, I'm putting the medium on all over the painting here. Because what happens when the wild paint dries? It starts to become more on the mat side. It's important to bring the values together and for that, you need to use some medium before starting to do any second painting of any idea, as you can see here to the form defined here. We are trying to build the sense of the three dimensional form. Trying to get the form defined here. You see how I mix the pre mix of the colors. Also, again, I'm trying to lighten the frontal plane of the chick here. And eventually we can create a sense of also a three dimensional formula. It's all about understanding the planar structure, the front plane, the side plane. Now if I'm painting the hands, I need to paint the background color first. Because when you paint the edges of the F, you have to also make it softer. And that's why we need to create that softness at the ages, you know, and that's really important. Put it to build that sense of the four, you know, in the shadows inside the hands. Also we can see how dark the things can go and we can also create those articulation the way the model is looking here, you will see that when I will try to darken all the hairs, you will see how light the face will appear like the way it is looking at the photograph here. The light of the skin of the model is much, much lighter than the hair. But I told you that in painting, you have to follow the sequence or row of the values. And that is exactly what I'm doing here, trying to build a form and get some darkest cast shadow value. The finger is casting shadow on the neck, that's why the shadows are too dark there. The values kind of sit nicely here of adjusting the edges of the hand looking for the canopies, articulation the paint. You can't try it looking for that twist and turn into the fingers. I think I will keep working on the drying of the fingers and the hand. I will see you guys in the next video body. 27. Second Painting of the Hand Continues: Hi everyone. Welcome back. Here. I was painting the hand and then now I kind of felt looking for that subtle transition and the articulation of the fingers here. The fingers are on the reddish side. Let's not try to make it too gray also. First, I'm trying to get the simpler articulation of the hands of the fingers, and then eventually I will try to make it more of a trams format. When you try to make it lighter, no, you have to go in a sequence order of the value like 87654321. That is how slowly, slowly you can make a Ryan form. Otherwise, if you put two light value and to dull value too suddenly, then it will create a contrast there. And that is what we are looking for here, creating that sense of the transition there and the volume, if I saw gilding the side plan into the fingers. Them to it. They're looking and also looking for the volume 0, but giving a sense of transition there. As you can see, I'm lightening the values between those fingers that will give me the exact shape of the fingers. You know, everything is important when you're painting to a high level, you have to put all those things into those section of the volume. That is how everything is aligned and designed here by by and that is really important. And cheng where it I'm mixing the colors I'm looking for where is more reddish, where is more greenish, where is more yellowish into that pre mix of color which I've already mixed onto the ballot here, I will try to kind of change the hue of that and then kind of a paint with the sense of the volume from light to dark. I'm lighting the top planes of the, of the fingers here, trying to get into the sense of the volumes and turning the brush into the sense of the reaction of the form. Changing the hue here and there, trying to think if something has to go more warmer or darker. But always think as a plane structure. The side plane, the top plane, the front plane. That way you can get a better idea in painting in getting the dimension form. Don't just copy it, understand the form, visualize it, create that sense of the volume that you can easily paint from there. Okay everyone, I'll continue this video into the next video, and I hope you're learning something from me by. 28. Second Painting of the Hand Continues: Hi everyone. Welcome back. Here. I was painting the fingers in the last video, defining some of the smaller planes here. It's really important that when you define the form, you try to look for first the bigger planes, then the smaller, and then the tiniest, slowly you get the illusion of that finger. That's really important here, you know, like when you paint something, you have to give some time to that, the form. So it starts to look more of a three dimensional form here, when I'm painting the values here into the fingers. The whole idea a is to how to make it look like a cylinder form, you know, and that is what we are looking here. Try to turn the form starts to give the illusion, offer a thin cylinder here. And that's kind of a really important taking my time and really looking for the articulation, the shape, the volume, the proportion of the different section of the fingers so he, everything should be aligned in a beautiful sequence. That's why it's a bit, a lot of time to do a second painting of something where you're kind of finishing to a good level and that's really, really important channel. Turning the form is also very crucial when you are defining the small forms of the fingers. Look for the small changes in the articulation. Look for the small changes in the darker value where the bone separates the other different bone structure into, into the hands. When you paint drying moves here and there you do a bit of a paint and then check it. And you keep checking it until you get the natural desired result here. And that is what we're looking for here. That sense of creating a bit of a three dimensional form, that is the most important thing in painting, Anything in which you painted with a color. Taking my time to kind of, you know, build and kind of make it look more interesting, you know. Oh guys, I will see you in the next video. So bye everyone. 29. Second Painting of the Fingers: Hi everyone, Welcome back. So I was second tainting the hand and I was looking for a small transition between the values there and looking for subtle movement of the forward win inside those fingers since the values are so close to each other. That's why it takes time to build the foam mother. Oh, never brings that go. I believe that int we to as you can see how I'm looking for a smallest form. It's at the fingers, the edges are a bit softer. Okay. Don't try to paint too sharp. Most of the edges on the fingers, in the face here and there are a bit softer only. That's why I'm trying to develop here the sense of the anatomy in the muscle. The smaller chips of the planer structure. All those things need to be defined really well. I'm looking for the side pen of the form also. I'm also adjusting the values here and there. The side plane is also very important stuff when you explore the form in turn. Sand here, there's so many things to be taken care of. No, first is the drawing. Then when you are modeling the form, to take care of the value, the hue, the chroma. You know, and that's how we develop the painting really well. Try to also look for the simplest values system there. It's really important how do you analyze the smallest, smallest forms. But see the best way to increase the at the end of the fingers painted bad, reddish, and try to paint like a cylinder form. That way you can really visualize the three dimensioned quality of the fingers. See everything has to be painted really well. If the fingers is there, the hands, then the heads, the hairs because then the things looks really amazing. Try to focus mostly on the painting here duct onto a small bit of the form here. Always try to smallest brush for the smallest forms and then a bit brush possible. Don't try to use everywhere the small brush because it can structure only if you want a smallest, tiniest part of the form, then you can give it with a more of a bigger brush bar, Everything you will consist of creating a very nice sense of the divs painting here. But you see that I haven't keep working onto these this hand for a while. You must be thinking like, oh, it takes time. But yeah, it takes time to, if you really want to paint, teach and every stuff to a good level, that is for sure. There's no any hidden thing is there. I hope you have learned something from this video guys. I will see you in the next video, everyone. Bye everyone. 30. Final Finishing of the Hand: Hi everyone. Welcome back here. I'm still continue with the fingers because it's taking time because, you know, it's the small thin structures are there and you need to be really paint it really well, you know, so that the things are defined nicely here after you are trying to get into the sense of the, the neck now and trying to build a fam there. Whenever you want to paint any kind of a painting, try to arrange it with a sequence order of the volume. Now as you can see that I'm trying to print that the side plane, the top plane, and the front plane onto the rest area there. Because that will give me the overall understanding of the form here. And I'm also ready to define the three dimension quality of the volume of the hand. It depending on the volume of the form, one to understand its importance of the pin structure which defines the character of the hands. You shouldn't paint the hands too soft somewhere there are small chips of smaller pain structure. Just focus on that and that's really important. Small pena structure creates a lot of differences into the painting here. And that is what we are looking for here. Look for our differences in the volume of the form here. That's pretty important. That's quite important here. And then you can really define the dams and quality of the volume here. And that is what I'm doing here, you know, I'm really looking for that volume of the hand. The slight turning on the edge of the form. See at the edges of all around the fingers and the hands. This is a difficult area to paint because you will take a bit of ten to 15 bus strokes to Guinea to get really define the volume there. So take your time. Take your time to make it really interesting and so that everything looks much better. That is what we are doing here. We are trying to really get into the sense of the volume. Also the subtle sift of the colors value the uniqueness of the rough had the bone structure which is really swing on the top surface of the forebear. All these, we need to see all these smaller things, The hand natural. Then we can really say, okay, how the painting looks natural with the values, with the form, with the color. We try to build a form, try to build a sense of the volume there, you know, the only the things will look much, much for three mins and form, so keep looking at the volume, keep fixing the three mision quality of the form here. And then eventually everything starts to look much, much easier. Volume, everything really important here. Okay, so thank you everyone and I will see you in the next video may. 31. Final Finishing of the Hand Continues: Hi everyone. We'll go back here. And I was painting the fingers, you know, and then kind of looking for the volume everywhere which needs to be done. But I can see that my hair is coming on the camera. I'm sorry for that lightning of, of the small, still small bits here and there. Looking for a bit of a transition from dark to light. Trying to make it much, much lighter. Now, trying to really paint with the teams and quality of the form. Here the moment I will put the Pacis color of the hair and it seems to us much, much lighter. Also, the volume is also really while the most crucial thing into the painting of the hand, and that is what I'm looking up to you for. That everything is arranged nicely with sequence order of the volume and the value. But yeah, in the next video we'll try to start painting on the areas which I already left, I'll see in the next video. So my adie. 32. Second Painting of the Forehead: Hi everyone, welcome back. In the last three to four videos, I was painting mostly the hands. Now let's go to the top section of the hand, the head, the forehead. For that, I'll be starting the outline of the head and building the form here. Hindus getting that curve happening there. Starting in the darkest color that I have taken a bit of. Maybe a transparent side with allergen crimson into that warm color. And then getting into the sense of drama of the edges of the forehead. That's really important in these features of the eyebrow and stuff like this. You need to focus on the gesture of that movement of the lines. And always try to connect with the other things which you have already painted it because that thing is more correct than what you are painting. Now it's really important to tied to connect with that stuff trying to paint. Or not to the list but some of the hair in shadow and then I will be trying to paint a bit of the lighter values on top of that. Always try to find the volume in such a way that the things are defined in its most beautiful way. Keep looking for the smaller planes in direction of the form, which way the hair is turning and that way you should more of your, the best strokes. Keep looking for that shift of the value color. You know, keep turning the form. Keep looking for the values. Turning of the form and the value is really important. Also, as you can see that whenever I'm trying to put the values there, it's just a fractal light to win the darkest value. And that is how you have to understand the value. Ship is very, very slow in nature. You know, you just cannot, uh, uh, paint everything to a very highest level of values. Then I'm putting that, I'm connecting from the right hand of the eye, looking for the angle, looking for the symmetry, looking for that sense of the volume. Everything is really important here. Trying to first put all the subtle system of the values, the form and the color. And trying to define the volume in such a way that everything is, it looks more natural here. The looking for that volume, looking for the edge, looking for that system in the, in the form A, I'm putting a bit of the green color. Also a bit softening the edge of the forehead or the hair line which is touching the skin there, creating a sense of the round volume of the forehead. Looking for volume into the forehead. Making a bit more lighter. Yeah, we need to look for these shift of the value volume shape and make it more lighter to get the three dimensional form then softening and trying to move the bus direction of the form, which would create a nice sense of a volume. Okay everyone, I'll see you in the next. We do, and I hope you have learned from this one. 33. Second Painting of the Hair: Back here in this section, I will be just painting the forehead and other areas around that. In the last video, I was painting the forehead. Getting the volume defined, getting the sense of the volume into that forehead. I'm trying to create the word of a lighter bit stay. I'm trying to also a bit soften the edges of the eyebrow and stuff like that. So creating that volume, creating that foreign soft turning of the values. There also a bit lightening the forehead area and then smudging around so that the things appears to be more brighter and lighter. Whatever is touching the skin area. I'm softening that as you know because that we two dimensional effect to the painting and I'm kind of looking for a subtle value shift there. Bit cut that texture of the hair, lightening the values to such a level where everything looks more, trains and forma. And giving a final finish to the touches of the hair, softening the value around the, the top section of the head. There were the zygomatic bone is meeting with the side pane of the forehead there. Everything needs to be like three missile foam. And that is what we are looking up here. You working on their, creating some bits of the form, But no, I will continue working on the hair and I will see the eyes in the next video. Why everyone? 34. Second Painting of the Ear: I'll go back here into this under section of painting the hair. In the last video already, I was painting the hall and getting the volume defined. One need to really understand the seq, order of the value. Right now I'm looking for the edge of the hear here and building the value system there. I'm looking for that, the sense of the drawing. I think I was, I had a less amount of shadow color which is cadmium red and omer. I mixed a bit more of that. You know, whenever I'm drawing the ear, I'm connecting with the angles of the eyes so that it sits nicely there in the beginning. I'm trying to paint as light, as simple as possible, Not putting too much of values there. It is all about the general local value and the shapes looking for that, the outline of the news and the year. The year and getting that sense of the wall in there a bit, softening ages of the ear because as they are just going away into from the face, you know, and the head is also touching the ear. So that somewhere it's more sharper, somewhere it's more softer. You know, lightning. Some of the values there of the hair. A wit lighting the ear. And anti and headaches describing the co. Looking for the angle, looking for the vertical angle, looking for the under alignment, getting the edge of the as really important. How do you kind of analyze the value in the volume? Look for subtle sifting into the form here, lightning the lower portion of the ear, that is the ear low. And always stand looking in between into the hair line and the nose line, trying to look for the angles, how things are sitting there that looking for that edge of the neck on the K in site, grading the essence of the volume. Creating the depth of the ear by creating the softness at the edge of the ear, a bit lightening. The lower portion of the ear did stay a bit softening, as is also a bit lightning the values there and creating a sense of a clears form. Do it. I've been turning the form there. Also you go go softening that. Is there a near our doo a with softening ses here and there creating that deft into the ear, touching the edge of the values there and there also. Since the hair is sitting on that ear, that hair is casting a shadow on the ear a bit, lightening the cycle on the cheek here, the tiny bit, you know, and creating the sense of the volume here. But, you know, all these painting, the hair and everything, what I'm painting here, you have to give time to that. Okay? Because of the edges, Because of the color, because of the, saves, because of the volume. It takes time to paint really good stuff. I hope you have learned something from this video. How to tackle the hair and the ear. Okay everyone. I will see you guys in the next video with another video. Bye everyone. 35. Second Painting of the Hair: Hi everyone, Welcome back here, I will continue. The son here, the painting the hairs. In the last session, I was also painting the hair. We can see that how I am looking at different values of hair from the beginning. All I just put the lightest value on top of that. And then I'm just relating the values from light to dark values on the hair. That's really important here. Painting the portrait using T. It's very important how you ate the different range of the values here. The color which I'm mixed here is mixed orange with yellow. Or coord as you can see on the left side of the palette there. Then my base color rambling colors into that. I also using the skin, the hair, because no, I want the hair to be part of the skin tones, so I'm using that, trying to a little bit soften the lights times a little bit soften the form. Yeah, a adjusting the anti helix of the ear here, trying to place still more treason form. And also putting a darker value behind that so that the light from the anti El looks more Amos form And increasing the overall form there into that year section. I didn't. Also a bit softening ages of the jaw line trying to build the foam there. It began cord and then looking for a bit different values for the taking. Taking a small bus and softening ses of the form there so that it looks more lighter on the top. And the values are very important. Here you define the form, the form, it plays a very important role in getting the things defined here. 36. Second Painting of the Neck: Welcome back. Here I was finishing the hair. The pallet was dirty. I thought, why not mix again? Let's colors. The first color is light rate plus white plus yellow. Our second color will be white, yellow rate, and a small amount of raw. To add a bit of white, the idea is to make a bit darker than the first value. Also not make it too chromatic. Also the third value is, will be amor light red, yellow, and a bit of white. See there are many different ways to mix skin tone colors. This is just one way to mix color. You can mix from cadmium yellow, Alzheimer and blue cadmium red. Very close to this. You can mix from red umber from old Hold many, many different ways are there it's good to mix the pre mixed color like this. Like four different values for the lights and the lightest and the darkest light. And then I have one color which is a bit of red and romer for the shadow color. Five values for overall painting of this skin tone and maybe some areas of the hair tone. Now I have some black. On the top of, I have some transparent Bronx side. I'll have Asian crimson. I have a bit of injured red, yellow color, and cadmium red. And then on the side you can see I have a permanent green light from Winsor and Newton. Right now when I'm starting the painting here, I'm using the medium like the liquid, original and in, while mixed in, the ratio of one is to one. You take a small bit of Azar and you 50% of liquid and 50% of Linda. Then you can use that as a medium one before doing any idea of the second painting. I go everywhere and all the you see not working, you know. So yes, it's really important how we are dealing with that. Mixing a bit of a green, a bit of Indian red, and getting that sense of that greenish color to that edge of the form. A bit of green, a bit of a red to that, a bit of warm make there, turning tone is more on the cooler side. So trying to look at the, the articulation or the outline of the jaw there, You can get build the kind of the likeness of the model. You can see that I'm trying to create the volume there in the painting. It's really important. How do you create the volume? Also creating the sense of the volume is very, very important. And also trying to create the, the values a bit darker and how it's coming into the light and becoming more. Some where more transparent underneath the ear. Behind the ear, you can see that there are some warm tones. And the cool tones of the hear. Then we can see on the neck, we have the lightest of the light hitting on the right top hand side. And then we have this turning of the form of the neck. Here you can see that how external cleomtrite process is really coming into the clavical area. I'm defining that area again since she is a female model. So I have to everything I need to be more subtle. You know, because the skin in the female are more subtle, The values are very subtle, the form is very subtle. So it's really important how do you behave that and how do you kind of look at that? Looking for the light skin tone color that we see. How it is kind of really coming out from the lightest value which is really hitting on the back shot of the neck there. A bit, kind of understanding at the Stan No Cado process mustache process there. Just putting someone of the difference in the value of shift there. See I'm always changing my breasts. Start that I'm using the breasts for the dark area and the same brass light area. I always use four to five brass to paint one area for five bases, for five different values. That is how you can paint confidently. Also painted nicely, you need to always maintain that sense of the volume for that, you need to also maintain the freshness of the color. If you have a different fferent brush with you, we can have always mix fresh color and then it's easier for you. Trying to kind of a look at the volume in the form here. Whoa, the, the lightest bit of that area, I'm painting with some of the lightest part of a skin tone color, mixing with some green and red into that. It's looking a bit cooler because of that orange hair behind that. Here I will go out of mixing the ends, putting the subtle values in between creating the descens of the volume. That's very important when you are looking at the form here. You need to kind of really understand the sense of the volume. Also turning the form with that strokes, getting that round cylindrical form into the neck area there that hired, I mean to win three, how easy you can see how I'm also moving my brush into that direction of the form and creating that sense of the volume also. Okay everyone. So I will see you in the next video. And I hope you have learned something from this video by everyone. 37. Second Painting of the Arm: Welcome back, here, I was painting the neck area. And as you can see here that still I'm adjusting the values here and there. The whole idea here is to kind of make a round form can of for blending the form. Also, I'm looking for a slow transition between the values onto the part of the shoulder here and then it's a bit on the right hand side. I can see that the lighter on the top, you know, the things are becoming more a bit lighter. On the top area here lighting the top plane of the solder line where the clavicle meets with the scapula. You know, it's really interesting to find these anatomical landmarks and look for this subtle transition here. Looking for the subtle shift of the value between the form here and creating that the volume between the, between the forum there and first trying to make it a round volume, you know. Heating the sense of the form is kind of the most important thing in the painting. Creating the softness and the edges where touching the fingers and creating the sense of the form. Also there, the volume of the form is really necessary here since everything is linked to one another. Now you can see here I'm defining the anatomical structure here. Now, in the beginning, I was just looking for a round form and then I need to define the anatomical structure or the clavicle, the scapula, blade from behind. How are the other muscles from the back side? The trapaga muscles are lining there. One need to really understand that the form here is fixed on the bigger form. And that's why I painted the bigger form first and then can look for the smaller forms always. You need to define the bigger stuff and then you can go to the smaller stuff. Yeah. Okay. Defining the lightest front plane here and the side plane of these muscles of the solder line here. I'm really trying to understand the form here. Basically see we can put all the details whatever we want. The only thing is that we need to look in the making it more simpler, interesting and nicer. For that, we need to kind of define the four nicely. I'm just putting the grace there. A, placing those. The shape, the oval shape of this dress, how it is attached to that. The bigger the lighter lines, That's really important. Just a bit lightening the side plane in the front plane of the arc here so that it looks more natural. That's the idea. I'm not trying to make everything too light. Okay, so I'll see you guys in the next video. Thank you. 38. Second Painting of the Hair: Everyone will come back here. I was painting the arm and the dress and everything there. Right now is careful looking for some of the anatomical stuff there and building the form. Still looking for the volume in the overall form here. Trying to blend the form with the direction of the form. Now I'm using my medium before doing the second painting of this hair. Like I'm using a liquid original and linseed while mixed to the ratio of one is to one and then sacarle before using it. Then I use one or two drops with a very brush, dirty brush with a clean, used brush where the hair is completely in all the different directions, then spread very tiny medium. Before doing a second painting, it gives a nice wit surface and then I can really paint the second painting it into vin really nicely. Now I'm making the hair more darker. Here I will take some transparent brownie, some Alison crimson, some black color to have the darkest, darkest brown color. The warm color, which will kind of, forgive me also, that will make the face to look more lighter also, because you must be thinking why the painting is looking a bit more darker than the photo. The whole idea was here. I'll go with the system of the value system. That is what I want to tell you, like everything is the arranged system of the values here. Looking for that, the sense of the volume, dark and light combination there. A bit of black, a bit of transparent brown side, and Alison Crimson gives me a nice sense of warm color there. And I have this darkest color, so it feels good to paint with that. Now as you can see that how I'm kind of for darkening all the values here and then I'm kind of light in and get some kind of differences in the values here and there. It's like you make a kind of one simple layer for that and then, you know, fix the values from there. Oh, you want crease? Creating some more light bits here under the top section of the hair and building the form here. Yeah, I will continue working on this painting here, guys. I hope you have learned from something from this video. I'll see you guys in the next video. Thank you everyone. 39. Second Painting of the Hair Continues: Hi everyone. Welcome back again to this painting session where I was painting their second painting, the hair. So it's really important how do you define the form and the volume here. It's really important now I'm mixing some different of the orange color mixed with, uh, cadmium yellow and some cadmium red. And that I'm using the skin tone color to gray down those oranges because I cannot paint too chromatic. I will just go onto that section only. So it's better that I, I'm just painting a muted orange color mixed with some rob, the skin tone color, using some orange into that. It's really important. How do you deal with that? Right now, I can see I'm just creating the volume there, creating the subtle shift of the values also. Then the texture is very important when you paint the hair. How the quality of wear is somewhere is sharp when softer. And how do you analyze that? That's really important. Look for that volume. Look for the edges. Look for the form. And then everything will start to work really well here. Now you can see I'm lightening the value also into that section of the form where the light is hitting from the backside of the, the hair, and it's also a bit warmer also. But see, the important thing here is that we have to soften the edges because it's on the back side, it's on the further back side on the painting here, because the hair is more front and the face is more front, We have to visualize that. It's not that if you make it sharper then that will come in front of you. It's very important how you deal with that. A bit lightening the top section of that form here. Also a bit softening of the hairs here and there, moving the bust into the direction of the form. It's very important, you know, and that is exactly what I'm doing here. Painting with the sense of the form here. The value, the form of the three dimensional form is the most important thing here. Perfect God lighten the top section of, of the hair and then build a nice sense of the form there. I see. Uh, when do you know that painting is finished? You have a right sense of the volume, the texture, the emotion, the feeling. There are a lot of parameters to tell that. How far we can take the painting? Someone will make the painting on the Bratton. Everything is your artistic in prison. How far do you want to take it? If you want a photo realistic, you can do each and every bits of the painting here, subtle values and also the mind texture on the skin and the nose and the form. If you want to have some pin look like it's a painting, it's not a photo, then you can have a lot of brush strokes happening into that. So that is your artistic ability. What kind of things you want once you watch, experiment like what really elevates him? What things really makes him interesting, him or her? It's for both. Just try to practice. And the different, different portraits you want to do. From the light, from the blue light, from the studio, light from the moonlight, a will create the sense of the beauty here. And the painting looks really interesting when you have a dramatic light on the painting, in light, light everywhere. The drama is very important into the painting, you know. So look for the drama, look for the volume. And create that sense of the texture in the hair, just touching the background. And you can see how I'm planning and creating those texture with the movement of the brush. And I'm softening some bit, I'm a sharpening some areas that is really important, you look for that sense of the value in the form. You know why the camera is shaking because I'm doing details. Camera is confused with the detail work and face work. That's why the issue is there. But I didn't know that you like when I'm seeing this video. Now I can see that, okay, that camera is also dancing, sorry for that. You can see how the light from the sun is hitting there in. So everything what you do here is really important. You know, like the hairs, the form, the texture, and that is what I'm doing here. I also now sincerely when you finish the painting, that background also is very important because it will just give you an extra boost to the. It's very important. How do you deal with the background? Also, don't take the background because I wanted to show that light coming from the background, that's why I'm making it much lighter. That's really the light is hitting from the backside of the form there, and that's really important. Look for the volume, look for the form and really arranged the value system according to that. That's pretty important. That's why I am adjusting the background. Also kind of making the widths more lighter bit there because it really feel that light is coming from the backside of the formal. The idea here is to balance the values, the color, the form then while creating the texture, very important thing is to top go with the direction of the brush of the hair because also give the sense of the movement of the hair. If you don't have that movement of the hair, it will not feel dramatic. There has to be a movement into the painting that comes with the confident lines of the confident lines of the brush strokes. You know, you can see how light and darker. I'm building the foam from here all the time and I'm mixing the background. I'm using some yellow green, Homer and white, a bit of red here and there. Also understanding the sense of the hair, Also creating the form there and looking for the sense of the edges. Edges will play a very important role in the painting. If your edges are very sharp on the back, it looks so atmospheric. You have to paint the edges a bit more softer in the back side of the hair. When you're painting the hair like this, your background color, that's why I painted the backgrounds there. When I paint into the hair, I create the softness of the edges there that will create another drama into the painting. It's really important that you don't just paint there. You have to paint the outline after painting the background. Because then the background is wet and you can paint wet into wet and create that softness in spn, into the hair there. So some sit away from you, the more something the more it will come towards. That is the phenomenon of the form here. I'm building a bit of the lights here and there into the sense of the drama of the hair. The light is coming from the backside. That's pretty important as you can see how I'm moving my breath also in that direction of the form. Somewhere I'm looking at how can I be more artistic about it. And that's really important. That also I'm looking for the volume. Like there are the lightest bit of the hair, the darkest bit of the hair. You have to always go in the sequence, order, order of the value system. Okay everyone, I hope you have learned something from this video. How to paint the hair, how to paint the texture of the hair, how to paint with the flu, and how to first wet the background. That is very, very important. I'll keep working on this painting. Only a few hours is left. Thank you everyone, and I will see you in the next video. Thank you everyone. 40. Final Touches: Hi everyone. Welcome back. Here, I was finishing the hair and creating some still the texture onto the top section of the form here. As you can see that, it's like giving a final touch to the painting a bit, working on the background, creating those shift of the values and colors and the knap, defining the form here. You know, as you can see here, how I am darkening the background and napa, getting those gray color, a softening the outline, the creating a bit more texture, a bit more drama into the hair. We go see the important stuff of the port painting. You can just paint like that. Everything in the porter is really important. How you want to sift the value and the color. That's really important. Your values. And creating the sense of, subtle shift of the value between the darkest dark and the lightest light. We know that we cannot just paint with any value which we want. We have to create the sense of the volume there and creating the sense of the form. Also, keep looking at the, at the painting and keep telling yourself, like, what can I do a bit more so that it will bring to a different level of painting? Everything is really important. I can also paint this painting with a two chromatic, but the idea is to give a sense of the form. That is what we're looking here. We have always come to the end of the painting. I think after this video, I have the last video. I want to, I want to go back from the painting to see what we can do a bit more. Otherwise, it's a good study to paint this painting here. I hope you have learned something from this video. How to start the drawing. How to start with the first layer of color, second layer of color, third layer of color. And how to blend with the brush to use the texture of the hair. Subtle softness of the nose, lips, and eyes and cheeks. Painting the overall volume on the face. I'll see in the next video by everyone. Thank you. 41. Signing the Painting: Everyone will come back here and this is the last video. Painting is almost done here. As you can see here, if I need some, a bit of a touches here and there, I can do that. I can see a bit into the hands by some of the warmest tones, creating a bit of a softness of the edges there, here and there. I will just look at the overall for the painting and everything from here. And if anything is missing, if there's some issue with anatomical stuff, some values, I can create a bit of the edges here and there just to create some differences in the painting. Why we can always try that and keep looking for that sense of the volume, which is really, really important here. Why not? Let's look at the form here and develop the sense of the volume. And a bit creating some texture into the hair still. And I hope from this entire video you learn something from this painting session which I gave a demonstration of the whole painting, layers by layers. How to create a subtle movement of the values. It's very important that you practice in a smart way. I'm always telling that don't practice too much practice. Practice. Practice with full heart, full attention determination, full concentration. Slowly, with a few paintings, you can create a good painting. You just need understanding of the edges, the form, the volume, and everything comes with a sequence order of the form. And you can see how I'm going for developing these values. Keep practicing, keep learning. And this is the one way to paint portrait. There are many other ways to paint the portrait. This is one way to mix the color. There are many ways to mix other colors. Keep developing yourself. I'm just putting my name also. My name is as Patel. You can also follow me on my Instagram page. His Patel, underscore artist and keep in touch with me. If you have any questions regarding anything you want to learn, just let me know and I will be just there to help you. I have also many videos by from there. Keep working. Keep doing good work. My website address is a tier.com Guys take care. Bye. Thank you for watching this amazing video here.