- Lesson details
In this course, professional contemporary realist gallery painter Hollis Dunlap teaches you his approach to painting both the portrait and figure in oils. Hollis has refined his painting approach, first learned at the Lyme Academy College of Fine Arts, over decades of painting and teaching.
You will work along with Hollis through each of the stages of painting, from a basic block-in of the big masses, to the final rendered picture.
Hollis begins by introducing the materials he uses and why he uses them, then demonstrates his painting process with two main projects: a one-day portrait painting and a four-day figure painting. Along the way, you will learn foundational painting topics such as understanding the form, the importance of value, and the selection and use of color.
In this lesson, you will paint the nude figure from life. Hollis will develop the painting over four days, sharing with you his initial decisions of drawing, composition and color mixing, all the way to the finished rendering of the figure.
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today. I think this is a good opportunity to show that you can use
the same pallet with very different skin tone. My main goal for this
pose is to do something that's interesting but not incredibly difficult for
the model to do for the next four days. Hopefully that's interesting to all of you and
thank you for watching. Let's get to it.
now it's time to set up the pose. And to help us out for the next four
days we have Emma, who's
walking into the shot. And I'm gonna kind of let her -
we kind of talked about sitting on the edge of that little couchy
thing there and I'm gonna let her kind of get in sort of a simple
position there. The idea - what I want really here is something
that has some movement to it but that is possible
for the model to hold for a few days without being, you know, in too
much pain. Like if the pose is really uncomfortable for her
then I have trouble painting. And I think that's important, you know, you really -
you wanna consider your model. If you really wanna work from life and you want
people to like you and to like working with you you gotta make sure
the model isn't suffering too much. So we've got heaters going
and I'm just gonna get her
in some kind of spot here. I guess I'll tape this pose.
Alright, great. Let's see here.
Alright. So when you're taping the model
I'm really careful to not actually touch the model.
I'm just gonna get this tape around the edges here.
So you're gonna end up with a kind of
tape outline of the model.
If I can get this off. This is some industrial strength tape here.
I just wanna get enough tape here so I
can get her back close enough each time.
There we go.
I'm not touching the model, I just want it to be close.
I'm actually fairly particular about it.
Let's see here. Let's get the side
of this leg. Trying to think
of everything here. That should do it. Alright.
So now I've got the model taped, that allows us to get the model
back in position each time. There's always gonna be little variations
but that's the main idea. So I think
we've got a good pose so I think having done that we're ready to go.
So the first thing I'm gonna do here is I'm gonna tone the canvas.
And there's a lot of different ways you can do this. What I
like to do is use a blue, burnt sienna, and white. Just to get
like a middle tone. I want something that's almost like the
color of the floor or a very neutral tone.
The idea is that it's darker than the lights and lighter than a dark. It's a very -
a mid range, I guess that would be the definition of a midrange tone so I'm gonna
use blue, burnt sienna, and white.
And just it doesn't have
to be an exact thing but I kinda want a neutral thing so not too
blue. Not too brown here.
I want it right in the middle.
And this shouldn't take more than two minutes to cover this whole thing. We'll see if I can
do it in that time. And I'm only using gamsol
for this. Now a lot of people
would do this ahead of time and let it dry, which is
fine also. I'm not doing that because
I like the ability to pull out the lights if I want to.
Which I'll sometimes do with like a paper towel or something like that.
So I just
want a very neutral, overall tone.
As soon as I get that I'll start drawing in her figure.
So only gamsol, very thin.
The idea is that it'll dry a little bit as I'm going.
It won't be too hard to put the paint over the top of it.
This board is 16 by 20 inches by the way. I should
mention that just so you have an idea of the size - you can probably tell.
It's about as big of a painting as I would do
in two to three days. Any bigger than that would take longer.
So we're almost covered here. That's about as fast as I can go with that.
So the idea is like a neutral tone, not too blue,
not too brown. Just kind of your overall thing, just to get rid of the white.
I want the lights to stand out.
That's the idea. So now I've got that. Let's see, now I wanna think
about my composition. How much of her I'm gonna draw.
Exactly where I'm gonna place the figure, which is really important.
That doesn't - that's not to say I always get it just right.
I'm always kind of drying off this brush
a little bit because if you're using too much turpentine it's too
drippy and it's not really - you wanna use as little of the gamsol
as you can because it breaks down the paint in a way that could crack eventually
so you don't wanna use too much of that.
In any case I'm gonna look at the pose now and kind of imagine here
as if she was already a painting. I like to - you know I
don't have a viewfinder but I use my hands as almost a viewfinder and kind of
imagine her if she was already a painting and what that would look like. And I'm deciding if I
gonna do the whole pose or crop the figure a little bit.
I'm thinking it would look good to crop the figure. If her head was about here,
the angle from the knee, that could look good.
Let's see here.
I'm gonna give that a try. So now I'm gonna take a
smaller brush. Maybe this one. This is something I'm gonna use to draw with.
Same color combination. I'm gonna use these same
colors for a while
and just draw with them.
I'm actually gonna move these up here a little bit. Let's see.
There we go that's better.
So what I like to do is I like to look at angles
and the better you can draw the angles, the better off you are.
So I'm just doing this by comparative measurements, by eye.
Let's see, final decision, I need to decide am I drawing full figure
or cropping the figure. That's the big debate.
Sometimes it takes me a few minutes to really decide that.
Cropping the figure. So here's where her head's
gonna be roughly here. Head to knee,
head to hand, hand to knee, so
this shape here is like the simplest possible
representation of the figure that I could do. What's the
simplest thing I could do would be about that. Now how big do I
want the head to be? Let's measure how many heads she is.
I hold my arm at full length here, one, two,
three heads to the elbow, four heads to the bottom of her leg
three, double check it. So let's say if the head's this
big, let's see. One, two, three,
four. That's a pretty good size for the head.
So here's the center line of the head.
I'm using the square brush,
I'm using the corner of it to get a sharper line
so I want - when I'm drawing, I want the lines
to be as sharp as possible. So I'm using the side of this brush
and the reason for that is I want
to be able to draw more than one in case my first line is inaccurate.
You okay Emma? Alright.
Great. Always check if your model's uncomfortable.
Or that's my secret way of convincing the model to do a painful pose.
Act like you care. I do care.
But I also - I always pray that the model can
hold the pose. That's a funny thing how that works but you know.
Alright, top of her head. That's as high as I wanna go,
I wanna have some space up here. I don't want to have a tangent where the top
of the head - I always want at least maybe a couple centimeters to an inch
of space at the top there. That to me is always a sign of a better
design. Or if I mess it up you guys will know that I messed it up.
So I want that space there just so when I frame
the painting if I do that, it all kind of comes together. Jawbone,
back of the skull, cylinder of the neck,
angle for her shoulders, one arm
is here, ribcage, pelvis,
like this is very rough right now. The head's gonna get smaller than I'm making it too.
I'm just trying to think of the simplest representation of the figure I can do here.
As you can see I'm kinda - this is all
drippy here, that's too much of the turpentine.
It's just kind of me hurrying in the beginning. Left a little too much maybe, let's see here.
This is gonna be her chin.
arm, hand will be about
here. Essentially what I want here is a stick figure
in the same position as the model.
Stick figure's about the simplest thing you can do.
That's the background.These two colors, burnt sienna
and blue you can use for almost every aspect of the drawing.
Now let's see here.
Angle of the front of her face
by her cheek to the chin. Trying to
determine the size of her head, ear is there. What I wanna do is get the foreshortening of
the head. And the angle of the head.
Skull there. Back of her neck there.
So this is all really just getting the head to be
the right size so I get the composition that I want.
I'm not really concerned about color yet.
but I will be before too long. And the
great thing about these colors, you can use them for anything. I can use them for drawing thin
lines but if I want to block in an area of tone I can also do that.
Like I know in general this background is gonna be darker than her.
So I can do that.
Just such an interesting thing here, talking to an imaginary crowd, it's kind of the first
thing for me. It's not that different from me talking to myself
at home in my studio but kind of a strange thing. Sometimes
if I want to - you know that wet tone I can pull off the lights with a piece of
just, you know, bunched up paper towel or something here.
And that's just something I do to kind of help me
keep things neat so if the paint's dripping too much.
Ideally it wouldn't be dripping down like that but it's okay to
move quickly in the beginning.
So here's her forehead.
There's the neck.
Alright let's draw some of the shoulders now.
Let's see if I got the proportions right here.
Kinda block in this figure.
Yeah that's gonna be too big.
Let's see here. Let's make the head a little smaller.
Now is the time to make some
adjustments on the size of things before because I don't wanna crop the figure awkwardly.
Let's just make the head a bit smaller here.
This is now the negative space in the background.
This is her hair.
Front of her cheek.
already - I'm moving her shoulder up
just a little bit. I have to do that because I wanna make sure that I don't
have an awkward tangent with the bottom of her leg and the base of the
canvas. That doesn't look right with
a tangent there so that's why the placement of these shapes is important.
Chin, neck, bringing
up that shoulder a little, even a little bit more is good to be on the safe
side. I can tell that I'm a little off there.
Now that's gonna be better I think.
Let's try this.
Interesting neck, that necklace
The back of her neck.
I use too many paper towels but that's okay.
Not really it's not really okay but I'm doing it.
Alright let's see here.
Let me get this outer line right. So all this work that I'm doing right now
is designed so by the time I get here it fits on the way I want it to.
So here's the angle of her deltoid.
There. Let's try that.
So now this arm is here, let's see if this works.
Leg, another leg here
of this shadow right here.
Foreshortening of this
arm. We'll get to that more in a minute.
Using the brush like a plumb line to get that
angle. The arm might even be shorter than that.
This is about where I want the base
of that leg.
How you doing Emma, you alright? Great.
Thank you. Forehead there, a little
bit of a movement there.
So I did make the head a little smaller.
We'll get to that. Let's just try before the end of the
first pose to block in as much as I can. At least get through the whole
figure. Head to knee.
Draw the angle right onto the painting.
Just basic position of this leg. Just very basic.
Right now this leg is too big but that's okay.
That will change.
line of the back I can just see a little bit which is good for the kind of 3D
quality I'd like it to have.
Back of the bench that she's sitting on is gonna be about there so that hand
is there roughly.
Let's see here,
let's draw this head a little nicer.
Now that tone that I put on a starting
to get a little more dry so it's gonna allow me, hopefully, to
do a little more
drawing in the head. I don't wanna make the head too small so let's get a little
bigger there. Chin is there.
Can't really see her
nose, what I do see if her eye socket.
There's a spot of dark on her blue hair there, I can add
just a hint of that for now, so I'm kinda keeping track
of where her head is. The highest point
of her head is there. There's a little spot there
use the color of her hair is similar
in the brown part of her hair is almost similar to that initial tone I was using
so I can use this tone in there.
Just gonna block that in. It just helps me
kinda see what's light and what's dark here.
Gonna use it in the background there so I'm using
the same color here right in the background. Right there.
Even though it's not the exact color.
Alright, take a break, thank you.
So my initial tone is a little -
a lot of turpentine is kinda dripping here but that's okay,
I'll end up going over that as I go.
The idea here first is just to really
place the figure to figure out how big she's gonna be on the canvas
and how much of the figure you're gonna paint. That's the main idea.
So everything has to be - a certain amount of looseness to it.
So that you're not afraid to make a change. So like anytime - you never wanna be
afraid to make a change after the very first pose.
No matter how long it takes to get the big shapes
right that's how long I'm gonna spend on them. I never put in any detail
until I get the shapes where I want them.
There's really kind of an art of painting
with no detail. I think it's important. Alright.
You all right? Thank you. Okay.
It's very close, it's actually - your left shoulder was
lower and your right shoulder was higher I wonder what that was. That's
close enough. Let's see just relax into it
and I think it's close enough for me. I think your back was more relaxed
but maybe move
forward towards me a tiny bit. Like see this tape mark -
yeah there you go, that's gonna be better I think.
Here we go. I'm gonna try to position the head a little bit
better this time.
Let's see here.
I need to make the head big enough to - I wanna make sure that
this isn't too small for this. So
let's see here.
Forehead out a bit further.
Wow the color is great, I love her skin tone. Alright.
Nose is gonna be there.
I'm gonna use another brush as I go. So I've got my darker drawing brush,
I'm gonna use this for some lighter tones just to kind of
get an idea for her skin tone. So I'm gonna mix
kind of a subtle warm - subtle warm light.
Let's see how this goes here.
Burnt sienna, blue, and white. I'm gonna use a little yellow.
Just to see how that goes. I'll think it out a little bit here.
Just gonna draw with this a bit. I just wanna get
some tone on here in the lights. What I want to do
is use both the negative shapes in the background and the shapes of her
body to draw these forms.
here a little more red.
A little darker
And maybe a bit of the red
What I want is colored grays, chromatic grays.
So the tones are harmonious, they're not - so the tones are
Ear is gonna be approximately there.
So what I wanna do here is kinda use an overall tone that I can use in all of the
That just keeps things a little simpler.
There's a bit of dried paint in there, let's see. Her nose
is gonna be about there.
About there, back of the neck, let's go here.
Just getting warmed up.
Literally and figuratively. I'm getting warmed up, she's gonna be freezing.
Let's see here. Neck, she has a pretty long neck
There. Let's really get some color in here.
Normally when I'm in class I can say if something I say doesn't make
sense, tell me and I'll stop and explain it. Since I can't do that
I'm hoping that this is slightly coherent. That's her
far shoulder. Let me just put this tone right on here.
Sometimes I just kinda take a chance and jump
into it and pray to god that I get it right. And if I
don't, I do it again. That may not be the most sophisticated
theory of painting but it at least is exciting.
The one thing I generally don't mind is doing
revisions although I do try to not redo things too many
times. Let's see here, her shoulder is gonna be there so I'm using
the background just to get a little negative space in here.
And I'm using the background
to set up the light on her
figure. The idea is to use the tones around her
to set up her lights.
You have to set the stage for the lights to look like lights.
So if I wanna put on a color like this
here, in order to make it look light
I adjust what's around it
as well. So I'll take this
murky gray color and put it behind
her and if you do that
you can create a sense of light. It's almost like, I don't wanna say the
illusion of light, but it is kind of an illusion.
All we're doing is painting flat things on a flat canvas
and I want them to somehow look three dimensional.
Where's her chin gonna be? Now some of these colors here, I'm getting a little violet
in here too. They're not the final colors. I
will experiment a bit with the color just to see what works.
Because you never know what might look the best. Now I'm
generally trying to keep the tones in her skin just the slightest bit
warm, I don't want them to look too cool but I like cool
skin tones in general. One of the things I like about her skin is that she
doesn't have like a fake tan which I never like painting.
You know she has natural skin tone.
I can use that same color again in here.
Back of her ear is about there.
Back of the ear.
Sometimes in the beginning I go slow but then all of a sudden I realize
okay I can go a little faster than that so
I'm kinda putting a little dot where her hair is,
where the darkest part of her hair, which is kind of here,
just to keep track of that.
Let's see here, we can use the negative space a little bit more.
I think that's a good size for the head or at least
it's close, it's not perfect, but I do think it's close.
Now I can use the
tone since I'm thinning out this paint quite a bit, I can use it in
a few different spots. It doesn't have to be the
perfect color yet. This was the shadow cast by her
arm and there's some really beautiful edges in there.
That's roughly where that's gonna be. Let's put this tone
back here too.
I can go a little bluer. What I do with these two colors, the blue and the burnt
sienna I kind of go back and forth with them and I push it towards blue
occasionally and towards the brown occasionally. Like in the background
I can push it more towards the blue.
Ultimately what I want here
is not a brushy, busy brush strokey area but I want one nice
flat color. So see how this is even
almost as if you went and got a paint sample at Home Depot and it's a little
square of paint. There's no gradation in there, it's all one flat color
so I want to paint with flat colors so
my mixing is done here on the pallet. There's no
mixing that's happening on here. The mixing happens on
the pallet and I want the color to get on the painting
without changing. That's my goal anyway, that doesn't mean I always
do that but that's what I'm gonna shoot for here. I want
mixing to be done on the pallet. So there's a real clear kind of organization there.
This is kind of
a small brush to be doing that area with but I'm doing it anyway so let's see
here. Let's get this tone around her head.
Let's also make her eye sockets a little bigger.
A little cooler
Even the ear could be bigger, we'll get to that.
A little more red
on the cheek here.
The color in this reminds me a little bit of a painter named
William Merritt Chase. Some of you have probably heard of him. He
tends to be a little cooler in tone than some painters. If you
think of Renaissance painters, Rembrandt, they're very yellow, brown
tonality. By the time you get into the 19th century
you get your Sargents. People like that are using natural light directly
from life and they're getting a cooler tone. In the Renaissance
they weren't really doing that, they were really doing drawings and doing the painting from a drawing and they had
a color idea that they were building it on. Which is beautiful
in a lot of ways. I love looking at the model directly though.
I like to see the way the color looks.
What I'm doing in the head is
I'm shifting the tones from warm to cool.
Just in little, subtle ways.
As you can
see I can put the same color here that I have right back here. That's
really important. To use colors in the model that
you use in the background. Let's see here.
Let's get through the figure a little more
rapidly here because I know that I'm gonna adjust some things anyway.
There's her arm.
A little warmer,
the side of her arm she probably gets a little more sun so she's a little bit
warmer in here. Just a little. Or redder I
shouldn't say warmer I should say redder but warmer's easier to
Let's see here.
Head to hand again.
A little more red in the hand.
Maybe that's too big
I'm going back and forth with both brushes here.
Moving from the background to her arm.
This arm is gonna be - that's gonna be a little bit
big. Let's see here.
This tone is just slightly darker
Her shadows are warmer, I can see some reds in here.
Which I like. When you have the cool lights like this
sometimes the shadows look warmer because the
warms are allowed to come out a little bit more in the areas that the cool
light isn't hitting.
Let's see if I can get that.
Get this shape of the hair right
it's time to clean the brush. This tone in her hair I can
feel much darker. Same colors,
a little bit darker.
I'm not using any oil yet.
There's lots of oil in the paint, it's oil paint
after all so there's a lot of oil in there.
That's a little bit dark for that.
Still thinking about
the size of the head before I get too involved down here.
Get the darkest parts of her head
at least indicated.
There we go.
All of these are still tentative values, they're not
my final thing. I'm just trying to piece it together.
If your value is good, meaning lights and darks.
if the value is good it should look real without any detail.
So that's kind of my goal is for at least it to start to look like something
before I get any detail. I know her hair is green but I'm not really
putting that in yet. I'm just going after the value for now.
And eventually I'll go after that color the best
I can. We'll see what happens with that.
Here's some warm shadows.
Under the chin there there's a nice little tone I can see.
I'd like to get it's not
exactly like that but it's close to that. And I can
add as you can see I can mix these in the same general area because they're not that
different in color. How does the leg feel Emma?
Alright. That's the shadow
of her ear which is kind of a warm tone, I really like that.
Somewhere in there.
Just to be crazy for now I'm curious about that
color of her hair. If I did want to get that - well
I don't know that I'd use this brush. As you can see I'm washing my brushes a lot.
It's a habit that I have and I probably do it too much
but I do it because I'm very picky about color and if I wanted to get
that color of her hair with these two tones, you're
not gonna be able to get the exact intensity of it
but you will be able to get the relative intensity in the painting,
meaning that if it's the greenest thing in the painting
it'll still look like her hair.
Soon. There's no red in here.
I don't want any red in that.
It's probably hard to see that because it's a bit in the shadow but
the idea is to control your relative
That's where the funky green's gonna go, up in this
area there. And I think it's gonna look good but let me see.
even brighter spot where it's a little darker but brighter.
Off on the side - not that dark.
Take two, here we go. That's
gonna be the most intensity probably in the whole painting. Although
the other thing I love - she's got these tattoos
and I can put those in. Thank you, take a break.
hoping that the legs are about there.
They may move a bit.
This may be a little
small for that. We'll see where that ends up.
I've added a little more color and I've drawn the head a little bit more.
It's still pretty rough but there's not too much detail where I
would be afraid to take something out. My main goal today is to get the
proportions, compositions set so when I start again tomorrow I can
jump right into that, start rendering things a little bit more.
Each break I take I cover this
too. Always cover your turpentine container because remember
it gets in the air so every class I teach I always have people
cover those. Alright, let's take a break.
I'm gonna try to shorten that leg a little.
I'm not sure if that's the right way to go yet but I'm gonna do it
just because it seems to look long to me.
The all important toe position.
It's the whole pose is hinging on this toe.
The key thing is that you relax your back. Because it was almost - in the
earlier stage it was more rounded and like now it was like
erect almost. That's better. Is that okay? That's better. Thank
The position of the head is really nice right now I'm gonna try to get that in.
a little. And I still wanna see that tip of her nose.
I really like that. It's like right there.
It's such a nice little shape.
Get her eye
in the right spot.
I'm repainting her forehead probably for the third time
now. A lot of little movements but my goal is to eventually get it in the right
spot. I guess that's a good goal to have.
Sorta get it in the right spot.
I wanna make her head a little wider since it was a little
it was - if something is too tall you can either make it shorter or you can make it
wider. Both have the same effect but sometimes
one or the other is necessary. If the head is too small in general
you wanna make it wider.
That might be too far.
Making this a little smaller.
Little lower with that temple.
Sometimes it takes twenty tries
to get the head in the right spot. And I just keep moving it
little by little. And the idea is to get it a little closer.
And the other key is to be patient while you're doing it.
It's almost - the more patient you are the better you are and I have to remind myself
of that as I go.
It's not easy.
We're not always -
sometimes I like to take a soft
brush and lose these edges
a bit. And that actually
the edge of that neck has to be darker as well. Let's do that.
A little darker.
These little subtle value shifts are what's gonna make it
hopefully look three dimensional. So like this little bit darker in here.
I'm gonna hint at -
hinting at the shadow of her earring without
really putting a lot of detail in yet.
It's probably a little bit early to do that but I'm gonna do it anyway.
Let's take this
A little more red. I'm gonna mix that
light above her ear again.
That's too light.
I'm sure that's dark enough.
Just wanna see where that is. Alright.
That length is probably still a little long.
I don't wanna render the head too much.
But I do wanna render it enough so I get a sense of the
proportion of it.
So this point, back in.
The top is still gonna come down a
little bit I think.
Trying to conceive of the whole head
I'm not doing as good a job as
I should be yet but we'll see if I can get it a little closer here.
Let's go after that crazy green
again just as kind of a visual marker.
It's not that crazy but I'm just
excited about trying to get it.
It's somewhere in that area.
And on the front edge of the head too.
I'm gonna get that.
A little bit of yellow.
Every mark I make I try to choose the angle before
I touch the canvas. So right here I see an angle
in there and I try to determine that before I -
so my mark is almost predetermined in a way.
And that will make your marks a little more decisive.
If you can do that.
It's not necessary everywhere but it's a good thing to do, good thing to show
It'll make the painting less muddy and more
clean and bold with the colors.
Let's see here, alright.
I'll lose these edges a little bit.
Sometimes you can take the background color
like this, put it right in her hair.
Just might be the perfect color. It also might not be but
it's worth a try. It'll make your painting more harmonious.
Lowering her eye socket
a little bit.
Still a little too high.
Lose that edge.
Let's go into the background again there.
Endlessly fiddling with the
head. The title of my
thing here. Let's see
Alright, background again.
How dark to go in the background here. Well I'm gonna go a little darker than I am.
Actually that's a spot where the -
near the shadow of the chin has to be
a little darker as well. There's a pretty color
right there. I love that color.
here. Alright. This
looks big right now.
Round off her shoulder a little there.
I like that angle.
Her eyelash has to be higher than I've got it
here. More like there.
I don't know quite how it go so low there.
Extra brush hair sticking out we don't need. okay.
Let's see here.
Alright this still seems
big for the size here so I'm gonna make her body a little smaller.
As I go here.
To use this brush a little to lose this edge.
Just something to smooth out the paint
a little. Makes it easier for me to work into it.
Something in the shape of her
chin I don't like that I've done there. Gonna try and figure out what that is, maybe
it's a little
misshapen there, I can't quite tell you.
How does your back feel?
It's not easy is it? It's not easy but it's not bad.
Hey it looks good right now. I like the way that your back looks.
Even though it's probably not - I can usually tell
if there's something that's a little...
Okay let's see I think I made her forehead too big. Let's take a little off.
It's funny, it's usually - I thought it would be the leg
but you never know.
A painting like this is always a collection of a whole bunch of slightly different
poses and I try to make them all work together.
At least that's the idea.
Okay. Let's see here
Gotta make her a little smaller in here.
I'm gonna try that now.
Shortening this arm.
Maybe I'll even raise up the upper part of the arm a tiny bit
I kind of - I put in her necklace but I'm not sure I should really be doing
that because it's maybe throwing off my proportion
overall so let's just get the light back in there.
Get this piece of light coming around.
Shoulder blades are gonna be there. A little more
of the light.
Let's see here. That should be very
Use the background tone again.
to draw a little bit here.
Upper part of her shoulder.
Let's see here.
Still at a point where I wanna redo this leg.
Sometimes you'll paint for an
hour and the painting will look exactly the same as it did the previous.
There's a way of that happening. Alright I'm gonna wash my brushes
let's take a little break.
I'll cover this thing.
This pose I'm gonna try to get
a little more of the tone around the figure, but I'm also gonna render the head a little bit.
Sometimes it helps me to put a little bit of
detail in a spot and it keeps me going.
Makes me excited for the next stage. So, let's see. Just get the pose first
That's good for that foot.
Looks pretty close. For some reason the shoulders keep shifting further and further
like the left shoulder was lower
before. I wonder why that is. Probably because that leg - can you move your toe
down to here. Maybe that's something to do with it.
There's always one thing in a pose. When you're working from life things change.
And the left - your right arm wasn't locked like that it was like just
like it was curved so it was - yeah it was more like that so
is that alright. That's pretty close, let's see.
Turn your head a little to that - that's perfect. Right there.
That's fine, thank you. Alright let's see here.
I'm gonna work in the head a little bit again.
size of the head, making a little bigger. It's really
important that I get that the right size. If it's not big enough it just would never look right.t
Let's see here. Take the cover off
I love that little shape of her chin
important for the character of her facial features
so I wanna get that in there.
I'm gonna make this arm a bit smaller as I
go as well. It's important that that
you can make the head bigger and the arm a little smaller.
The two things together should work out.
That's an amazing green in that hair.
Get a bit of that color in there.
This is all tentative still.
This is too big right now.
Let's see if I can fix that as I go here.
Mix the background
tone again. Okay neutral gray.
And work around it.
Just a little big there.
let's see here.
I can just hint at the
tip of the nose, I like to see that little bit of the tip of it,
kinda nice thing. That's about there.
Now let's adjust the shoulders again a bit here.
Make this shoulder a little smaller.
Still using basically two brushes. Light and dark.
A little warmer on top of her shoulder.
Top of the
collar bone right there you can just kinda see that.
That's probably the warmest tone I've used yet with a little bit of a red.
That may change
as I go there.
I'm still mixing in the same general area because none of the colors are too
different at this point.
This arm the position's a bit different
but I'm gonna go with it.
This is gonna be a soft edge eventually ,
here this arm. So here is the center
line of the arm to the elbow.
And the center line I use those as it could be in place of the bone
although the bone has more of a specific shape. I like to think
of just a stick figure in the position as her.
Background tone over here.
Get that arm in in a moment
Elbow straight down from the back of her ear.
Goes about there.
Making sure I get some of the roundness in her head there.
There's lots of
subtle colors in the head too, I'm trying not to get too involved in them yet but
The trick if the get the warmth in her skin
without going too warm because there's a lot of very subtle
tones. Let's see here.
Here's this background tone again. Use this background tone again.
Here's the blue.
There's a spot in her neck where the background connects
with her figure. This is kind of an important area right in here
where it gets a little darker. This is kind of a
nice thing. And I don't have her necklace
in there yet. Maybe I'll put that in eventually, but that's where
it's staying for now. Let's
draw her lower arm a little better for now
Let's see here.
Just gonna try to get through
the full figure a little bit faster here.
There's foreshortening there that's nice.
Let's see here.
Back of that arm.
It's gonna get a little darker as it goes around so eventually I'm gonna want
to soften that edge for now I'm just gonna
paint it in like this.
That shadow is gonna come right up to it.
There's a little piece of light behind that elbow, I don't know if I'll show that.
Let's see here. Block
in this shadow, let's see. I should position
her lower hips a little bit better than I have it.
So her belly is
here. Let's see here. I want
to one, two
three heads to the bottom of that
shadow. One, two,
three heads. Yeah. Interesting.
Now let's see before I
do that, make her head a little smaller then I'll redo that
This is still too high so just right over the top of what
I've got there. The idea is to get the size of the
head right here. Or at least close to it.
I wanna mix a dark
so I'm cleaning that brush.
I'm just gonna
redo this line.
Just so the
darkest parts of the head are defined
at least somewhat more than I had.
Don't know what's going on up there.
Somebody's moving some stuff around.
I can draw the shadow of this arm.
Sometimes it's good to really get in and start drawing.
I'm using the corner of the brush again to draw
How you doing up there Emma?
Pretty good. Went from good to pretty good.
I don't know if that was better or worse though.
cheekbone a little bit bigger. Sometimes
it takes me three hours to see the most obvious proportions. I'm not sure why
that is but it happens with me.
So I'm really adjusting the edges a lot here.
A little movements. Like a millimeter on a painting this size equals probably an inch
on her so if I'm a millimeter off it's a fairly big deal.
There's a great edge on that shadow that's sharp.
So I wanna get that nice edge there.
Whoops. Not quite the color I wanted
Go a little lighter
A little darker as the form
goes around. Just had deja vu.
I wonder what that is. Maybe I have done this before. I guess I have done this before
but not in front of an imaginary crowd. I have done this
Sometimes I think of her whole body as one form.
So I'm going a little darker back here so the whole thing
is rounded and then I'll - as I go I'll start to
differentiate the two sides of the torso based on where the
center line is. But for now I'm thinking that as one thing.
Get into the legs here.
Just get a base of tone.
Let's get that other leg in too.
Cooler tone there. She's a little cooler in her legs and the upper torso.
I don't know if this is the final placement of that leg but I'm gonna put it in anyway.
Just to see. Now the top of this leg, that's
interesting. The top of that leg is here,
which means that's gonna be a little lower. Which is
okay. But I gotta pay attention to that when I get to it.
knee, a little more red in it.
Same angle from head to knee.
That knee is gonna be about here.
That's a bit too pink for the knee
but somewhere there, that's
Can you turn your upper torso to the left a little. The other way.
That way, yeah. I guess that was - was that the right? That's beautiful, thank you.
That all right? That looks more like it, thank you.
Now go back a little. Not that far. A little
more. That's fine right there, thank you.
It's always good to kinda - the pose will always vary a little but
it's good to be able to give the model a clear direction to go.
I guess it would help which way right and left was
That's one of those things.
Since we're on a break maybe I'll
take a little time and put a tone back here.
I could use a bigger brush for that.
And while I'm doing that
I could get a little more paint on my
Even though this isn't the final location for this, I can
put a tone down here because I know it's not as light as her leg.
Something like that.
I like this little spot
over here where hopefully it will be an interesting shape eventually. I'm not sure
exactly where her knee is gonna be yet but I like the idea
of there being a negative shape in that corner
area, so we'll see what that does.
I'm gonna get a little more paint here. Whenever you start to run out of a color
put more on there so you don't have to do it when the model is there.
Alright I'm gonna take a little break.
I guess I can measure my heads again just to see here
one, two, three, four, so this could be a little lower maybe.
Alright here we go.
Yeah, there you go.
That's great, yeah it looks good, that's fine.
Let me see. It's almost -
yeah it's actually pretty good. The head's a little different but I like it.
That's fine, just like that.
Okay let's try to get the cheekbone a little bit better than I have it.
A little bit bigger maybe here.
The top of her head is rounder than I have it.
So I can round this off a little bit like that.
Let's see here. That's a little better.
I'm trying to place the eye socket in the
right spot, which I didn't have it. That's a little
better I think. And now the arm looks
nice. What I like to do is sometimes when there's a certain spot on the pose that
looks where you want it, it's good to go into the area.
Maybe this arm here.
There we go. Let's see here.
This whole lower body here
seems big to me still so I'm gonna try to
make it a little smaller.
Okay let's see. The width of her neck too. I wanna get all
that right eventually.
You can also draw with the brush handle that I like to do it
as well. If I need this shape a little nicer
it's an advantage of having a white canvas on the bottom, even though that's not that
light. Sometimes I like to draw a little bit with the
back of the brush, just to get back to just the drawing.
Let's raise up that far shoulder a little bit.
It's a little crazy to have that really bright
piece of light there on the neck so maybe I'll knock that down a little bit.
There we go let's see here.
That ear is roughly gonna be
Alright let's draw a little bit.
Dark line I'm gonna use
a thin edge of this brush again.
Center line of the back actually,
center line is really coming here now.
Center line down through the ribs
into the pelvis.
This leg has come back a little bit.
straight down from here.
Elbow's in here.
I like to think of the arm as like a cylinder here so
if I'm gonna get that foreshortening
find where the elbow - so the arm would be like a cylinder.
But I wanna place that elbow correction. Let's see here. The arm
is back a little further now than it was last time. I like where it is now.
Go back to that.
Back of the head.
Get a few colors in there. Let's see.
The width of her neck too and
I'm gonna make sure to get that.
I love that color in her hair
I'm just gonna put a little visual spot there so I can
get that. Just the darkest part of her hair.
Got it. Love that color. Just blue and yellow.
And I want to just get - there's an interesting little curl there in the hair but
I'm not really gonna put that in yet.
It's more about just defining the darkest area in the head.
sure yet if I want the arm to be left or right. For now I'm gonna keep it a little straighter.
I've moved it twice now. Now it's
deciding where I want that elbow. I don't have to maybe decide on that yet.
The elbow is not as important as just still getting the general proportions right.
By the end of today I'd like to get a little closer there.
If that's about the size head I want I can still go smaller in this.
This is really long now. And I'm not
sure why exactly I'm not seeing that but I'm gonna
work on that.
A little lighter in here.
I love this red color on top of her
shoulder there. I wanna get that nice color
there. A little redder.
A little more red where
she gets more sun. That's cooler.
as it moves to the side here.
Neck's a little
longer than I have it.
Using the background to kinda try to carve out this shape
a little better. Maybe this arm, I could draw it
and it might end up being back a little further. And here's
the end of the elbow maybe somewhere here. It might
look better in the final pose. I'm not
sure yet but I may move it there. So this would be the back of the
arm in that case. Moving that elbow
back a little.
Let's just block in some basic colors here.
Overall tone for the skin of the arm here.
Hand is a little more red.
Upper part of
the leg. Let's see - angle
from forehead to knee again.
Maybe a little
A little more red on the bottom
of that knee. Let's see here.
I'm trying to get the right
distance here. Showing the amount of the back of her head versus the side
of the head, that's the main thing I really want there. The rest of the details
should fall into place. So once I get that
the important thing is getting the skull from the right position
in space. So I wanna show how much I see of that side versus that
side. That's the key thing there
that I'm trying to get.
I think I could raise this hand a little bit maybe here.
Raising that hand up.
The thumb's gonna be there. So the leg's gonna come up a little higher
in there. The color there's a little cooler.
Mostly just wanna get that drawing in.
Underside of that
hand is there. I love thinking of this as one
shape kind of all flowing together.
Bottom of her hand into the arm, into the
elbow. That's really important to me is that
overall rhythm of the entire form.
That to me is what separates an artists like Michelangelo
from a lot of artists. It's just the sense of flowing line
through the whole figure. It's an amazing thing and I
think Michelangelo is the best at that of anybody I can think of.
But anyone from the Renaissance is a master of that
of the sense of flowing line from the top of the figure
through the bottom.
Let's see here.
Just gonna rough in the shape of this lower leg
here. It's not probably the final
position but I wanna have something there.
Just to start with before the end of the day.
Bottom of that knee
this is like where the leg would end.
What I'm gonna
do is I have these darks in the hair
and I wanna mirror those darks so I've got these
darks up here. They're not the final ones maybe
but they're kind of my visual keys for what the most extreme value is
at the top of the painting. And I'm gonna take those darks
and put them elsewhere in the painting, you know maybe
here, behind that leg.
Even if it's not quite placed right yet, you can put it in as long as
you don't mind redoing it. If you have to fix the proportion
I like the idea of getting something in there
just to complete the value range of the painting. So it's not just
here, even though I really wanna keep working on the head, I do want to
just kinda place a few
the front of her belly kinda right down here. Straight down from here,
ear right now. That might be a good place to put that. Just
a mark there, then I have to fix this proportion of course because I'm too wide there.
There's a piece of wood on the bench that she's on
which kinda comes across the bottom, which I think is a nice color and it's
kind of a diagonal going across this way.
That's just kind of a compositional
idea that I'd like to get in there. That might be
my visual idea for the bottom of this painting.
Let's see. Let's redraw
that shadow on the side of her torso a little bit.
Before the end I'd like to get that too. I still haven't used an oil,
I have been thinning it out with turpentine. That's only because
I except to move things around.
I love this shadow here. I'm not sure if this is final placement yet but it's
a beautiful thing and it's all kind of - it connects to her arm,
comes across the leg into the oblique.
Which I think is a nice visual thing
to use the same color in the shadow
of the arm back there. Her back
is more relaxed now than it was. Looks good though.
the back here.
that you're a little darker as the form turns around his area here I want this
to be a little darker.
Let's see here. See if I can draw her torso out
a little nicer.
Inside of the arm.
will be the timer. Alright. Thank you.
Alright I'm gonna wash my brushes now
and we'll start again tomorrow morning. Thanks for watching.
I always clean my pallet at the end of the day
just so I can get a fresh start the next day. I'm gonna do that
Usually to do that I just
scrape off the paint with this pallet knife. That's the only thing
I use so far. Only thing I've used this
pallet knife for is to scrape away the paint.
Just get the excess off
there and then I'll just wipe it down with a paper towel here.
Something like this.
Okay we're done for the first day.
I got about as far as I could in about two and a half hours. I would
have liked to get a little further but that's the way it is. Sometimes you kind of have to move things
around. My main goal today was to get the proportions right, get the
composition right. I feel good about the composition. The proportions need some
adjustment, let's just say that. So hopefully tomorrow I can get a little further with that.
The main thing is keep the colors simple, get the compositional design
idea there. So thanks for watching and
we'll pick it up again tomorrow morning.
on day two. So yesterday I basically blocked in the
figure, just basic proportions, got some paint
on there. I'm gonna try to refine some of those things today. Some of the proportions are a little
off I'm gonna try to fix them and do a little more drawing and
get a little more paint on there in general so I can start to render some things.
So I'm ready to start so you guys can all follow along.
And hopefully we'll make some progress today.
Take a look at the pose here. The
all important toe position. We don't have the toe in yet.
Looks good. Let's see. It's interesting how
certain things change. Now it looks almost identical to the way it did in the very first
pose, which is a good thing. So I'm gonna try to work on the head a little bit here
and get a little bit more of the likeness that I want.
Okay here we go. Interesting.
Using the same kinda
background tone to draw the arm a little bit.
I'm gonna use a little bit of the oil today too because
that's gonna help me keep the painting wet
for the next couple days.
Whoops that's a little dark. Let's try this.
This is just walnut oil by the way. Just
pure good old walnut oil.
Alright there's the
so I'm gonna make her head a little bigger. I felt like I made it too small yesterday.
And I don't want that. That would drive me
crazy so I'm gonna increase
the size of her head a little bit. Which is gonna require some
revision here. Let's see her chin should be about there.
This is always fun.
That was sarcastic but having to redo a few things
but let's see.
That's new position here
Let's see here. Let's get this. You really have to
jump into it. You can't hesitate when you have to make a revision,
it has to be done quickly.
Let's see here.
Almost there. Thickness of the
That's a better neck thickness for the whole.
The figure as a whole needs a bigger
head for it to work properly here.
Ear is gonna move that way a little bit.
For some reason when I make revisions
things love to get smaller. And I've been working for years to try to avoid that
but it still happens. It probably has to do with me doing things comparatively.
I've never used sight-size. It's something I thought about learning but
for better or for worse it's not something I've ever done.
Let's see here so the top of the ear,
now the ear is interestingly straight up from the arm. I think that's a good
position for it in general. I think that's gonna give me a little more flexibility to
revise things as I go here.
there will be times in painting where you'll make a mark,
the first mark may be your most accurate one.
Just the way it is. And then I'll go the wrong direction for three hours
and then have to go back to where I had it in the first place. I don't know why
that happens, it's just part of the process of
revising the whole painting.
You know until you've worked through the whole figure, you don't really know
exactly where things need to be.
Interesting alright so
Top of her ear is gonna be there now.
That I think is gonna be a better proportion for the head in general. And then
sometimes even, you know, considering that I have this habit of making the head too small
sometimes I'll try to overcompensate for that and make it a little bigger
than I think it is. Just to have some room to work with.
I'm gonna use a little of the oil now because I don't want my painting
to dry out too much. I like it to stay. I
want it to look wet.
All I could think about all night was how I made the head too small yesterday.
That just kept me up all night. That's what
happens. So I get all stressed out about making the head the wrong size and then I don't sleep
at all and then I'm a zombie here trying to paint the head.
Let's see if I can get lucky and get it right.
At times if I go silent that means I'm concentrating because
there's times when you have to really think about
what's the right next step to do and it's not always easy
or obvious. Sometimes it's very difficult to figure out
what it is.
But in this case right now I'm making the head a little bigger.
Trying to think about the whole skull shape, the proportion of you know the back of
the skull to the amount of the front of the head I'm showing.
Let's see, her cheekbone
is coming out to about there.
So her forehead is about there.
That I love, I really wanna make sure we get that, that little bit
What I'm trying to do now is make the head the right size so
I have flexibility moving forward so I can at least adjust
and give myself a little room for error.
Proportion is really
everything right now for me.
It's very important to get that right. Here we go, alright.
Strange I feel like
Bob Ross for some reason. I don't know what it is.
I'm not painting any happy trees but maybe I am in my mind.
When you're not talking to anybody in person it's like your jokes kinda don't really sound like jokes.
I need like a laugh track in the background here.
Someone laugh at my
jokes. The model's
laughing. You guys can't see that but
alright. I'm not even that funny but thanks.
Made me feel better. My self esteem is intact.
I made the head bigger. One of the harder things for me to do
but I'm doing it at my great peril
in case I totally mess it up.
This is not the shadow of her ear is now, you know, in this area.
Almost directly above that arm. I might have room to foreshorten her ear a little
now too. We'll see. We will see.
Clean the brush.
That's that kinda cute little shape of
her chin. I'd like to - I'm gonna get that in there.
colors here. We're using fairly cool lights and it's very
very delicate colors. You really have to just a little but of blue, a little bit
of red in the chin right here. That's hardly anything.
It's just enough
to kinda see it.
That's about where I
want her eye socket. So her eyebrow, her brow ridge is
gonna come just about here
What I'm doing is making the head a little bigger
just so I have again some flexibility
with the rest of the figure too.
There's different proportions
and I'm not someone who rigidly
imposes proportions on my drawing but I do think about basic
things like if you're doing one and half heads here, you know,
obviously this is big now but this is probably the only
limbs in this entire pose that aren't really foreshortened are this -
the length of the femur or the
length of the humerus. And I'm gonna try to get these things sort of
in proportion. If I measure her head
it's about this length. So I'm gonna try to even that out as I
go. Again I'm trying to go a little bigger on the head. Just
to give myself some flexibility here.
Let's see where this would go.
Remember Dave Chappelle, the secret
this positive imagery. That's what it is.
It's the secret. Somebody probably saw that.
It's about the only Dave Chappelle thing I can quote now, everything else is
too politically incorrect.
Alright here we go.
Yeah I think it's great. He's one of those people that can bring
people together and we need that these days.
Okay where was I.
What back was I doing here. Oh yeah.
A little bit more blue. There's a really amazing little
array of slightly blue to slightly red tones in her skin
and I wanna get all of them.
And sometimes I'll think I see a color and it's not the right color but I
try it out anyway.
I wanna get this nice edge behind her
The top of the head. Let's get that head at least so it's not too
big. Hair is gonna go here
so this still can come down a little bit.
A little bit there. We're getting there.
Let's see here. Alright
Everybody have their coffee today?
Let's see a little red in there.
We've got a cool light so I like to find the warm
tones in the shadows. Now the cooler the
light in the lights, the more the warms can come out in the shadows.
Unless you're putting a cool light in the shadow areas too but
generally the opposite colors come out.
In the shadows.
The shadow nose. Remember Mad Magazine. Maybe I'm
too - I'm a little bit older.
Alright let's see. Let's get that tip of her nose in there again.
So I just completely repainted the head,
essentially that was the first thing I did today. It was bugging me all night.
And that's just the way the it. Yesterday I had only, you know, two
hours of painting which of a painting this size is a really short
time for me. I've been doing really small paintings lately
from life, which I love because I can get into the detail within two or
three hours. A painting this size you really can't. You can
try but it's more of a
challenge let's say that, to really do that.
I love her earring. I don't wanna really render that yet though.
I'm tempted to but it's gonna be somewhere around here.
I just - I wanna make sure the proportions in the head are pretty
close to right before I really get into that sort of thing.
Yeah the head's a little big, whatever. It's closer
than it was. Let's see here. Front of her forehead.
Let's get something in there.
Well what I can see of it anyway.
I love that little curl of hair there.
We'll go after that later.
Length of the neck, this seems big now, let's see.
Don't want the neck to be too thick.
you do, if you're working from a live model there's gonna be little movements
in the pose and, you know, ideally the idea is to
select the best looking parts. So you're not like
computer printer where you're just printing out the pose.
You have to pick. Like I can see this shoulder now a little
more than I could before and I have to choose what I'm gonna do with that.
And that's important. I have to
choose where I think it looks the best ideally. It's not about just
kinda copying it down. That
to me is the big difference between working from a photo and working from life.
And the photo's just not gonna change so if you're gonna do that I'm not against it.
I just think you have to really know how to
draw to make that work the right way
anyway. I can tell when people are doing it
and I do it as well. I mean I don't mind working from a photo. I used to be
really against it, I think it helped me
to not work from any photos for 15 or 20 years
because it teaches you how to draw.
But on the other hand there's things you can do when you have a photo that are difficult to do from life
or at least more difficult. But, you know, if we had
photography, you know, we would have never had the Caravaggios and the Rembrandts.
When I think about someone like Caravaggio it blows my mind. Here's a guy
doing 15 foot paintings from life, life size
figures and it blows my mind
that he was able to do them the way he did. And then he'd go out and get in a fight
with some people. If you don't know about Caravaggio, he's the most interesting artist to
read about. He's just an amazing person.
And he was doing, you know,
life size figures, 10, 12 foot canvases from life
in his studio, directly from the models, which still
just blows me away. You really don't see that anymore.
And I think, you know, the technology changes the
way people think about painting. You know since there was no photography
it didn't seem like a negative to have to work from
live models that might move. So people just didn't think
about it, they just did it. And then you've got someone life Caravaggio who's the
most competitive artist working in the most competitive,
artistic time ever. Nowadays every artist I know is friendly and they all pat
each other on the back all the time. Back then they would just
destroy each other's week. Literally. They would deface each other's paintings. They would get in fights
you know and have these feuds. Now
all I see now is everybody complimenting everyone all the time, which is kind of
nice but there's a reason why the best paintings were done
in a different time.
There's an amazing - there's a biography of Caravaggio by
Andrew Graham Dixon that's really worth reading. It's
just got lots of cool, historical stuff.
In any case if this was Caravaggio
studio it'd be very dark. It'd be much different than this. He would
set up the entire studio so he had one window of light coming in
where it would light the model from the left. So if you think of
you're probably familiar with Vermeer's paintings. The same idea, there's always
a window in the upper left of the painting
that lights the canvas and the model. So we do
have the light coming from the upper left here but we have a lot more lights on in the
room in general, which make it a bit more modern looking.
We're doing the Lucian Freud cold light.
Break time. Alright.
Take a little break here so I just made the head bigger
and we will see how that works moving forward here.
I'm gonna continue to work on the head here and try to refine the
shape of it. And hopefully get a little more form into the shoulders
here too. Continually looking at the proportions. This leg
I generally want to be two heads, you know, it's seen right from the side
and it's not foreshortened. So I'm gonna look at that
too. And the whole time I'm gonna try to be adding
paint so I can start to render things a bit more.
Sometimes for my own sanity I have to render something a
little bit in an area, just so I start to feel the form coming out.
If I don't get that I start to get angry. It's just this thing.
I've always been kind of an impatient person, which is not
the best quality to have. The more patient you are really
the better off you are if you're an artist, especially if you're working from life.
You can really - if you have a painting you don't really like
it's amazing how you can turn it around with maybe 8 or 10
good marks. Like this painting - the head really needed to be a little bigger.
Now I've made it a little bit too big but that's okay I think I can work through
it. That looks great. Beautiful. Alright
See I have no excuse, she's right in the pose, so this is all
me, I need to just get this right.
Let's see. Can you turn
your shoulders to your left a little bit, like that way, right. Is that alright?
That actually makes a huge difference. That was the part that was throwing me off
yesterday. Beautiful thank you.
Sometimes there's a movement in the pose and I can't figure out what
exactly it is that's making it shift from my painting and that's the main
thing because with that little turn that I just did
totally adjusts to where the chin is in relation to this
Let's see here. Alright.
Where was I? A little bit of the red that's
in that shoulder, let's do this.
Get this thing.
Shoulder to chin.
The only thing people are gonna know from this video is how much I talk to myself at home
when I'm working. It's a constant
dialogue of a crazy person.
Let's see here.
I'm gonna go a little cooler. Basically her skin is warmer
than the color of the light that's hitting her. So the lightest lights are
gonna have some coolness to them. Sometimes I even try a green in there, just to see if I
can get away with it. This is gonna be a little too much but
it's exciting to try it anyway.
People don't think of skin as being green but it is. There's a lot of
greens in skin. I don't wanna overdo it though,
I wanna try to make it believable. So always
worth trying out. If you think you see a color put it in and see if it works.
Let's see here.
I'm not gonna put that
necklace in for a minute here because I wanna try to get the proportions a little better.
I wasn't happy with them yesterday so no necklace for a little while.
I have to play music in my head because I usually listen to music
when I'm working at home.
Music and art go together well.
They compliment one another, let's say that.
So pretend that there
is Led Zepplin playing in the background right now. Then you'll have
the accurate picture or something like
or something like that. I'm not really classical music person
which is strange because I love classical art.
Classical music for me is like
Should I adjust the shape of this
arm? Well I'm gonna try it for now. I don't know if it's gonna end up being there.
I like what it's doing right now. It's interesting.
That's a little bit straighter. I love these
shapes back here. Her back's gonna be a little wider.
Still essentially using two brushes here. going from light to
darks, adjusting the proportions.
There's that little bit of hair in
the back of her neck, which kind of - what that does is it identifies the center
line of the neck. And then I like
to find a center line that goes down the whole
back that really shows how much I see of the left side versus the right
side. So I do like - and her tattoo just happens
to follow that exact line
just so I'm thinking about - you know the bottom of the ribcage here. how much I'm
seeing of this side versus that side. It's good to
pay attention to those things. Center line here.
Center line alright let's see.
Walnut oil. I love walnut oil.
The color of that
cushion she's sitting on has a kind of warmth to it. I'm using a little burnt sienna,
a little of the red for that too, just to get
a start there of that tone. I'm not putting in the
highlight area yet because I'm not totally sure where
that's gonna be. I'd love to get her back in here too.
Let's see. This might be a little wider drawing
with a brush handle. I like to
do a little of that just it gets me
so I don't have to think about the color for a minute. I can really just think about
proportions. Sometimes I have to do that, kinda retreat back into
pure just drawing mode. That's important sometimes
for me if my proportions don't quite do
what I want them to do automatically.
I'd love it if everything worked immediately
but they don't always go that way. Sometimes it takes some
patience, which some days I have and some days
I don't have.
But if you can train yourself to be patient
the better off you are the more patient you are.
Or that was in reverse. The more patient to are, the better off you are.
Doing everything in reverse.
Doing the drawing second, put the paint on first.
It makes it exciting, you know, it's a little more
improvisational here. I think you can train yourself
to be more patient, you know, I always talk about this story. When I was drawing
when I was probably 20 there was this girl that was
modeling for me and I wanted to impress her in the most cheesy artist way. I was like
I'm gonna give her a drawing, this will be great. So I went to give her
this drawing out of my sketchbook but of course I forgot that like a week before
I got in a rage because I had messed up a drawing so I tore my sketchbook in half
and then I opened up the sketchbook to give her the drawing and it was like
ripped off the bottom and I was like oh maybe not that one, you know,
so I thought to myself after I was like you know I really need to calm down and not
be so emotional about things. You know and just try to
be patient with yourself. I still have trouble with that though, I have to remind myself
Just be patient.
I was doing it yesterday. You know I have these
microphones on now, I've never worn a microphone doing a painting before. It seems a little weird.
I have enough trouble listening to myself as it is.
When I put these marks in I like to put in marks that consider
the entire form of her back, almost like a sculpture.
If I was sculpting her I would be thinking of the overall
form first, rather than individual parts so even though I had identified
the center line in the back, I wanna kinda
put some marks that treat it like one form and then
get that proportion and then fit the other stuff
in between it. So the overall width of her
torso here is what's important to me right now
and not breaking up the individual parts.
But for now I really need to focus on just getting that overall
width right. Oh I love the color of her hair. I'm
tempted to try to do that but let's just go back in this ear
again. Let's see this shadow here that I love too.
I can't shake the feeling that I'm just talking to myself. It's so weird.
Like I'm giving myself this weird
imaginary pep talk here. I hope it's entertaining.
I hope my suffering is
entertaining for all of you.
I'm sure lots of other artists that do these videos talk about
weird random things like this right. So I dunno.
Let's see here now there's this arm is in a different
spot and I'm debating changing it. I love how her arm looks right now,
it's just a matter of making
the right decision.
It's not easy. I have all these other brushes
I really should be using another one instead of cleaning this brush incessantly but as I
said in the very beginning, I get my favorite brushes. This one is just
the right size and shape, it's allowing me to make a few little
adjustments in a way that I kind of like.
So I'm gonna do the whole painting
with one brush. Or two brushes and
keep washing them so they wear out in about three weeks and I have to
buy brand new brushes every three weeks. Which is probably why I have
array of cheapo brushes. You know I'm not gonna go spending 300 dollars
on a bunch of fancy brushes when they just wear out. You know if you paint a lot, you
go through a lot of brushes or at least if you paint the way I do
I've been wanting to become a little more efficient
my brushes. But
up until now that hasn't happened.
Some friends of mine have their brush endorsement deals
and I said I do want one too but I want the A.C. Moore
cheapo brush deal. Do they have A.C. Moore in
California? It's like a craft hobby store where you can buy
junky art materials. Right.
What about Michaels? Well Michaels would be the thing, that's where I get
my brushes. In fact a couple of these I bought at Michaels a week ago.
Just for this video. So that's about as fancy as I get with
materials. I don't give a damn what brushes you use.
Excuse me. The first swear
on camera. It's a record for me.
Alright so since I made the head bigger, I gotta make this arm bigger too.
I'm sure the head's gonna get a little smaller as I go. That
should happen. It normally would happen.
I wanna get a better likeness anyway for -
love her chin. What I can see of it.
I love the one tenth percent of the side of your chin that
I can see. There's a warm
shadow under her. Chin here, that's beautiful as well. I like
this value. There's a value there and what's good about
that value is it's connecting to the background. So you wanna
find areas in the painting where you can connect the figure to the background.
There's another one.
There's another area that I can see right here
where her forehead becomes the same color as this gray
background. Right in there. And I
love that sort of thing. That type of element
I think is - it's a more modern idea and I think it's
important, you know, if you look at Renaissance figure
drawing, everything is designed to separate the figure from the background. It's just the way
they thought about things. But if you look at more modern figures
like someone like Euan Uglow, I don't know if anyone knows who he is but look him up.
Uglow. He's a brilliant painter
and it's much more of a kind of geometric -
he's a painter who's almost could appeal to someone who likes
Mondrian and someone who likes
like Degas. You know there's a little bit of both. There's a classical thing and there's a modern
thing there. And that's really what I wanna do with this painting. I wanna render
the figure but I wanna show how it related to the environment.
And even if you've got just a very simple environment,
like just a gray background, there's places in the figure
that you can connect her to the background. So show how the
model is connected to the background. Use the same
color in the background in the figure.
You know I can see the same color in her hair right there
that's in the background. Or maybe it's not the same but it's
so close that it essentially becomes the same thing.
Maybe the background will ultimately will be bluer. But my
goal is to create a painting that works altogether. It's not about
separating the figure from the environment, rather
than showing that the figure is part of the environment
If I look at her chin,
far shoulder could be raised up a little bit.
Let's see. I get the right color for that. That cool light is kinda hitting
Don't go too cool with the color.
Sometimes in my
effort to make the painting natural light looking
I got too far and make the painting too cool and then
I have to add some reds to warm it back up again so I may be going
back and forth from those two things. I love how her right arm
looks right now but I wanna be careful
here that I don't go off the edge. I want that hand to be about there.
Big smear of paint. Sometimes that's what you gotta do.
Now this underside of her ribcage needs to be a little darker
Lots of paint.
There's a great sharp edge right in the arm there I wanna
get that eventually.
Dave Chappelle. I like it. I'm doing
My friend was telling me to be positive last night.
So we're gonna be positive.
Alright let's see here.
I should clean this pallet. I think I'll risk it - I'll go
to the next break and then I'll do it.
I'm darkening the value slightly as I go down through
this side of her ribcage here.
It's a little bit risky, let's see.
There's a beautiful, vertical line
Well it's close enough to vertical right there.
Straight down from the back of her head.
Then the cool light
hits again on her oblique.
Right there. I don't know if I have this exactly positioned
right yet but I do wanna get that highlight
in there eventually. There's a beautiful shape right here
I hear the timer going so let's take a break
I think I'm gonna clean this
pallet off. Clean the brushes
and the only thing that I use the pallet knife for, at least
lately is I'll just get the
light area cleaned off. It's important that you get
or keep your color as clean as you can. Meaning that
you're mixing - you're not accidentally
getting anything in there you don't want. Like if I'm trying to mix a color
in here I don't wanna get any of that in there. I'm trying to keep it kind of dark
to light just so there's at least some semblance of organization there.
Cover this thing.
Just clean off this spot.
That's enough. Alright, let's take a break.
Make the walk.
The walk across the stage.
let's see here how close it looks. The one thing you know is
in just five minutes times the model's proportions couldn't have changed. Not that
much anyway so. I never
never blame the model. That's the rule
art classes. I always remember, you know,
people will say well the pose was different and I say well I know the pose was different but I'm talking about your painting.
Does the painting look good or not? Let's see.
I like what you've been doing with your back because it's been looking more
relaxed. Like even in the last pose, it was much more so but
I don't know if that's comfortable for you. But yeah that looks beautiful, I love that.
Is that okay?
That's like really close, thank you.
Okay I'm gonna hit a couple highlights on her back. Just
to get - there's a lot of light bouncing around this room and a lot of them are just weird, cool
flourescents but I actually like painting that
because for my it's almost like getting away from
the kind of clichè pretty colors.
Instead painting with cold
depressing grays. But they're actually not
depressing, they actually make me happy. So there you go, grays make me happy.
It's kind of the way that
if you go into Walmart and you look at the aisle with the greeting cards
they actually might - they're all happy. But they actually might be making
you more depressed for some reason? I dunno what it is.
Like religious painting. Better watch out though.
Going into bad territory.
Alright, let me see, what was I doing? Totally forgot now
I got distracted by my own stupid rambling. Let's put the highlights in
again. It's not this green but I'm trying it for now.
shoulders to the left a little other way, that way, is that okay?
A little bit more. That's good. Are you okay with that?
Yeah, that's better.
Grazie. Whatever word you wanna use, let me
see here what am I doing? Oh yeah.
I'm just kinda putting an overall tone in here. My
proportion here is not quite right but I'm hopeful I can get
a little closer to that as I go. If I really - I should be using
a bigger brush in here but I'm using this one for now.
I love how I can see her tricep there.
Okay. I think I'm gonna
thin out her neck a little bit.
I don't wanna get too big in here.
Everything is relative. That is the one thing.
And the thinner neck will make her look more
female. Is that okay to say now?
If I make her neck too thick it'll make her look more
boyish. Which I don't really want. I'm kinda of going - and she has short
hair but I can still see the kind of rounded forms in her head
that are more indicative of a woman's
bone structure than a man's. I'm conscious
of that as I'm
Taking the head down a little bit. Just a little.
Where was I? Oh yeah.
Again taking that color in the background, putting it in the figure
is a good thing. Well it should be a good
thing. Assuming I do this painting the right way it'll be a good thing.
I like this walnut oil. I want this painting to stay wet over the next couple days
if I can do that I think that would be a good thing.
Now I've got Mozart
in my head. Too many notes.
knows what that is.
My classical music is more
Is my classical music.
Let's see here.
eyebrow. Her eyelashes that is,
the special eyelash brush. The only thing you can paint with
this brush. That's not true but I'm gonna - I just wanna
hint at where that is in relation to the ear.
It's just one of those things that
it helps me kinda keep track of what I'm doing with the head
proportionally. I specifically set
this up so I really wasn't doing a portrait. Of course now that I think about it
I really wanna do a portrait of her but for now it's more a figure.
When I think of a pose like this I think of the Sistine
Chapel where you have around each little scene
that Michelangelo painted there's four nudes.
And usually you can see more of the faces there but they're really great
figures and you can really see if you look at those figures you can see how
he was working from life with them. Specifically because
each pose is something that a model can do without
too much effort. There's no crazy
you know balancing on one leg, they're all seated poses
and you can really imagine him working in the studio and posing
the model in those positions. So it's kind of
cool to imagine when you look at the Sistine Chapel, you can
kind of imagine Michelangelo working from life with those
figures. He was a strange guy
though. I mean none of them are female figures so he had his issues.
I mean I don't know if that's an issue.
Liking to only paint men isn't really an issue but not liking women
is an issue and I don't know - it's kind of hard to tell what Michelangelo
really thought. He did have some women who were great
friends of his but in general there's a kind of strange
attitude towards the female figure in Renaissance art.
And I always have trouble with it, you know, and
it also has to do with the religious aspect of it. It's strange
if you think of Renaissance art.
You know essentially a lot of it propaganda
you know like here's the Virgin Mary, I know your life is terrible
you're poor, but there's a reward after all this life of suffering, you get
to go to Heaven and all these rich people are commissioning this artwork and
it's always - I get this strange feeling from it even though I love the paintings.
It's interesting to me.
Some of the most beautiful paintings every done
are very bizarre.
So I hope I haven't offended anybody. I guess
there's still time. I still have a chance to do it.
Anyway let's actually talk about this figure again. I'm still looking at the
relation of her chin to this arm. Right now in the pose this arm is almost directly
below the chin and that's something I'm still trying to
figure out how I wanna deal with. I'm not quite sure how I'm gonna deal with it yet.
What it means is that some of my proportions are still off and
I'm just trying to slowly carve away at it and figure out what those
As I said earlier, sometimes I just
for my own patience I have to render
a part of the figure a little bit more, just so I feel like I'm making progress and then
I'll tackle a problem of a proportion that I don't like
after that. I do that just so
I feel like I'm moving forward.
just try to find the shape of her
eyebrow here a little bit. I don't wanna use too much white, I'm very
conscious of how much white I'm using and if I use a little
too much I try to identify that and knock it down a little bit.
Go for the same color but less white.
I think that's another pretty common thing with a lot of painters now
is you know just how much white to use.
And this pose is deceptive.
It's really not as light as it might look.
I'm using these square edges of the brush to try to
draw with a little bit in here.
Let's go a little darker around. I really wanna get into
some rendering things but it's still a little bit early to do that.
But it sure is tempting.
Going a little darker as the form rounds around
the neck here. Her necklace
again is here, which is a beautiful thing. I'm not really gonna
render it yet. Maybe I'll hint at it for a second there. I love the
tattoos also, it kinda gives it a little more of a modern
look. And I want that.
I dunno how much time I'll have to
render these things but maybe I'll just hint at them for now. I fully
expect to paint over them but maybe I'll get lucky and get them
just perfect. Which never happens but you never know
And the other one's over here.
butterfly sort of wings. Interesting.
Just the general shape but I'm sure I'll
redo that. Let's see here.
You really have to focus because
if you start looking at the whole figure all of the sudden it can be intimidating, there's all
this information and everything has to be adjusted
and all I can see if all my proportions that are off. You have to really
just focus, add paint, methodically
fix your proportions, find things that need to be
improved. Again I'm thinking about this kind of oval
shape of her ribcage here.
So I'm almost sculpting with the brush. Thinking of this as a round
form. You know even though it's a flat surface but I'm creating
the illusion of 3D
on a flat surface. I like to
think about that way.
Let's see here.
just clean this brush.
I like to always go back to this kind of
universal dark tone that I use with the burnt sienna and the blue.
The two colors neutralize each other
and what that means is that when I use
it in a dark it's not gonna jump out too much. So it's a good
tone to kinda correct your drawing with. I don't like to
correct my drawing with a really bright color for example. That
wouldn't look good. I like something that's kind of
just there without being too visible.
I love how there's a little bit of this concave shape
in the back of her arm now. I don't know if I'll end up having that in the final
painting but right now it's kind of doing this a little bit, which
I think looks really exciting.
Such a nice shape
it's almost coming in because the top of her scapula's here
I'm not sure if I'll go with that in the final thing but I'm trying it for the time
being. So I think it's beautiful.
That's too dark.
Already took out the
first tattoo I did there.
I lost my focus a little bit there for a second.
Try to reset my brain here.
There's this, alright.
Let's see here. Always comparing things, I like to use my
brush as a measuring tool. Just vertically compare things.
Like the edge of her arm, directly
below there where that shadow is.
So let's put that in. Need to move it a little bit.
So this arm is probably gonna go that way a bit,
which is good for the composition because I don't wanna get too close over here.
I'm already getting a little bit dangerously close
there, I don't like that. So
I'm going to
mix the light, not the dark. Move that arm a little bit.
Over a little bit. So then
the front of the arm
is gonna come out to about there.
This is gonna be a challenge.
Let's see here.
Are you ready.
Whenever you're making a difficult adjusting, but I'm fairly
sure this is the right thing to do because it's been consistent the last few
poses. I think it's gonna help me get her
proportion a little bit better. You never quite
know until you try it. So.
This arm is getting moved.
And the shadow side, the shadows also gonna get moved.
Let's see. Straight down from here.
This is not an
I think it's worth it though.
The reason I'm moving this
is just got what's happening here. The idea is to make an improvement in the
figure overall. and sometimes you have to do that.
It doesn't mean - it's not fun but
it's one of those things you kind of have to do.
So this is all gonna come in
Something like that. Let's see.
Mix the tone of her arm again.
A little bit of
Right when I'm moving.
I'll put a little mark
there for the next pose to remind me
of the crazy thing that I'm about to do.
Let's lighten up the top of that shoulder. Just so it doesn't look muddy.
That's a little more where I want that
shoulder to be. Looks a little funny now
because inevitably you can only move one half of the form at once.
So until I move this side in the arm is gonna look really wide
That's part of painting though if you're gonna make revisions and I have to do that.
I would love it if my proportions magically were perfect right away.
They never are, it's always a process.
Alright I'm gonna try to fix this arm up
a little bit. At some point I'd like to get
the proportions right and actually start to really render these forms. But I don't wanna do that
before I have the forms where I want them.
It's annoying having to completely take out something you've rendered
because it's not in the right place. So I'd rather have a -
I'd rather have an unfinished painting with good proportions than
a detailed finished painting with the wrong sized arm.
So however long that takes me I'm gonna keep doing it.
We will see alright looks good.
here we go. Interesting. It's close. Turn your left arm,
turn your torso to the left. Other way, other way.
That way. Yeah that's better. Thanks.
Works for me. Okay good.
the distant arm, this arm I don't really want that
to go further than let's just draw a vertical
line there. I want this space here.
I don't want her hand to touch the edge.
Because that would create a tangent and it creates
tension when there's a tangent there. It would all the sudden become very important.
I don't really want it to be there. So this -
is not gonna go further than that point.
Alright like that.
Something like that. Okay I was -
I was working on that arm. Let's see here. I was -
it's actually better for me now where it is. It's not quite as far.
So that's good actually.
Proportions are such a strange thing because
you can change one thing and everything else looks different.
So you really have to work throughout the whole form
in order to get them right. Or at least
I'm sure there's probably techniques that help with that.
Let's see here.
Okay. How light are the lightest lights gonna be.
It'll be about
Gonna get a little more paint on here.
Using the background
I can see a little bit of what looks like the trapezius. Maybe there. Then there's the
I can see the top of the deltoid.
There's a really pretty little shape right there. I'd like to get that.
Little bit of a dip in there. I don't wanna overdo it.
where was I. Right here. Let's look at that arm again.
You know there comes a time when you have to decide on the
where something's gonna be. You can't keep changing it. I have a
habit of doing that and it's not
a good thing because you end up doing four different paintings.
I don't wanna do four different paintings, I wanna do one.
So let's look at the -
and I think I've done two or three so far but
the thing about that is is that is what
adds to the surface of the paint as well. There's
a certain amount of revision and I think a really good artist to see that in is Rembrandt.
Rembrandt's paintings are never smooth
there's always redrawing and you can see the old marks
underneath and I think that adds to the depth
of his painting. I contrast Rembrandt
to somewhere like Bouguereau who there's -
you know Bouguereau gets really excited and he adds like he uses like
one tiny little bit of thick paint and that's as crazy as he gets.
But he's an incredible draftsman so it all depends on -
I'd like to be able to do a Bouguereau. I can't but
I'd love to be able to do it, you know, I think that -
I've never heard of Bouguereau painting directly from the model. All I've seen is
him drawing and doing an underpainting.
And that's something I haven't done in years
but I may try it again at some point. I'd like to see what
I can do with it. Some Bouguereau techniques
which is definitely drawing first.
I really -
I remember when I first saw his drawings I was blown away,
like incredible line quality.
Let's see. I gotta watch the proportions in the head
Let's see that
before now is maybe a touch lower.
As far as french academics go I tend to
prefer Ingres more than Bouguereau. I don't know how to
say his name. Ingres is one of my favorites.
I love his work. Incredibly interesting
He's my favorite there of the French
In general the
19th century was a great time for painting because
they started to study color a lot more. It wasn't just
color drawings as much. You know you got painters like
Degas who's a really good one to look at,
just overall he's got incredible drawing, incredible color, incredible
composition. He's an artist who had everything.
Except a personality, he wasn't the nicest guy but
other than being kind of a jerk, I shouldn't talk too badly about him but
if you read about Degas, you know, there's stories about him
being a bit of a pain but he's an incredible
painter. I mean he's just so good.
I should probably focus on this. If I say bad things about Degas
he's probably gonna give me bad vibes from beyond the grave and
I'll do a bad job. I don't want that to happen.
Degas the nice guy.
Art history. I think he was a bit of Nazi or something. Something like that, something
not very flattering. I don't know.
But he sure could draw.
He was good at everything. Good color, good
compositions were amazing. Alright.
Let's see here. What was I doing.
I'm looking at her hair again and I just really
wanna just work on that for minute but I'd love to
get the proportion of the arm right. Everything I've been doing by making the head bigger
today has been with the bottom part of the composition in mind
Like if the head got too small what would happen is then the bottom
part of her figure would come up more and this leg
would get shown more and more. And the more I show of that leg
and get closer to the ankle, the more awkward my
composition would look because it was start to look like I just chopped off her foot, which
is awkward looking. I don't want to crop the figure awkwardly, I wanna crop
her lower leg right about in the middle. Which is why
I've kinda stressed out about this the whole time
I want the head to be the right size so the whole figure sits
in the composition. You know you can't -
you know what I thought to myself was well who cares you know if you make the head too small
and this is too far up then you just take an X-Acto knife and chop it up here.
So of course you can do that but I'm gonna attempt to not do that because
it bugs me if the composition is off.
I want her legs to
be in the right spot. I want to show the right proportion
of this leg. I want that to be in the right spot.
You know I don't even care if it looks like a leg right now.
I'll put a vertical mark - you put a vertical mark
in the right spot and the composition will look good. It doesn't have
to be a leg, it becomes a leg. This arm needs to be longer.
Let's do that. Elbow
straight down from the middle of her head.
Right there somewhere. Straight down from the middle of the head. That's
the elbow. Again, vertical mark
in the right spot. Sometimes if you're having trouble
with proportion, simplify the shape
to as simple of a thing as you can do. A vertical mark and put it in the right spot.
Then worry about the exact shape of it. I say this as much as my
for myself as for other people because this is
the problem that I have is I start to look at the shape too much instead of looking at what's the position
of it. Length and position.
So put a rectangle in the correct spot.
And then worry about
making it look like an arm.
So the bottom of that - I'm making that arm a little long.
Not too much though.
Let's see just as a tentative thing.
The goal here eventually will be to bring it beyond
just these basic shapes but I want like the bottom of that arm, that shadow.
Again that also is directly below the head.
Directly below here.
This area there.
Now where was I?
Where's her oblique in relation to her head as well.
Straight down from there. Look at that again.
Straight down from there.
Let's just put that in there.
Let's just say I didn't get this right. Well maybe I can
get this right and that's a step in the right direction.
About there. Probably looks wide
there right now. I'm gonna try to fix that as I go.
Now this leg - this leg is now going to
come a little bit lower, which I think is gonna help my
composition. So the leg itself probably gonna come down to there.
Let's see how that looks.
That's not the final position but I think
it's gonna be better than where I was at before
Going a little darker. This is the underside of the form
so that leg is there. Now the back
of that calf is gonna be there.
Just a vertical mark for now. Alright.
Let's work on this shadow again.
Thinning this out, let's see here.
I'm gonna go a little darker on that shadow, it's one of the more
important shadows, value wise this is a little darker and a little warmer than that
one. So again blue,
Got that in. Let's see elbow again, straight down from the middle of
the head. That's about the position I'm going with. Let's see.
Straight down from the middle.
draw with the brush hand even.
Don't know if this is the final position yet.
Try again here.
Helps to be able to carve into the
white canvas a little bit. It's not a canvas - white panel.
Hand. That hand
will be about there.
Roughly. Everything is a bit
rough right now.
That's where this knee is.
The other knee is coming down here. Alright.
I like how I can put a vertical mark right there. Verticals and horizontals
stabilize your composition so if there's a spot where you can go straight up and
down that's a good thing.
Back of her ribcage and I'll put a mark there.
Just so I can kind of think about where the base of that form is.
Alright. I might go back into the head for a
minute. Even though I know this is still a bit
The toes. The whole post is built
on the toes.
There's a toe there. Shouldn't really be defining
that now but I did it.
Let's take a
bigger brush and just put in some big tones of light.
This is probably the brush I should be using in the beginning but
everything I'm doing is going in reverse here for some reason I don't know.
Big piece of light there.
It's kind of fun to get out the biggest brush you have.
If you look at Zorn's paintings, everybody should know who
Zorn is. He used some bigger brushes. He would probably scoff
at these little brushes I have here. It's a funny word scoff.
He'd laugh at my brushes. He'd say what are you, what kind of painter are you.
A little lighter.
You know if you think about - most people get bigger
canvases but they don't always buy bigger brushes when they do that so I've been doing these little tiny
demos that are five by seven inches
and all my little brushes that works pretty well but then when you go to this size
it might not work the same way.
Ultimately your brushes should match
up with your canvas size.
I went a little too light.
That's too light as well.
Let's try that again.
Tricky value in this arm because it's
deceptive, it's not as light as it looks.
Alright. I'm gonna go