- 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 back into the head again
I think I still have her head a little long. This length
seems long to me. Maybe not. Maybe this
size of the highlight.
Okay. Take a break
before I do something.
Let's see I think that can come lower. Next
pose we'll do that.
So in this segment I showed you what I should have been doing in the first place was using
my biggest brush. But I do
everything backwards so.
let's take a break.
Here I go.
So this pose I'm gonna try to clean up my brush work a little bit in here.
It's a little bit marky everywhere so sometimes
I like to take a soft brush and just kinda knock it down a little bit.
You don't wanna overdo the blending though because it can quickly
ruin your painting. Alright.
Looks good. Let's see here.
I'm gonna just kinda knock down the brush marks here a little -
actually before I do that let's go into the dark again.
The dark green of her hair. I try to do the
painting without blending at all. I always think that
if you don't blend it's good because it makes you think
about the specific color and value.
If you get the color and value right you won't have to blend it all
but most people don't get them exactly right, it's very
difficult to be perfect with it so I think it's okay to blend a little bit.
You just wanna do it as sparingly as you can because it's easy to kind of
take the life out of your painting if you overblend it.
Ultimately what I want with this painting is a mix of the two things. I want some
smooth areas and some areas where you can really see the paint.
So I'm gonna try to get kind of the quality of
both of those things.
I can lose this edge a bit here.
What I generally do if I do this
I kind of clean off the excess paint like
this and just kinda gently knock down the
tops of the marks. And you wanna be careful, if you're using a paper towel it's easy to get fibers of paper
into your brush, you wanna watch that.
But what I'm gonna do here is just sorta smooth this out
and then I'll repaint it. Hopefully I won't have
to completely repaint it. There's a cool area where the background connects
again. We're talking about connecting things. We'll do that a bit.
Generally I'm just losing this edge a little.
Ultimately my edges are - I don't want them to be too sharp, that was a problem I had
with a lot of older paintings I did. Even paintings I did up to just a
few years ago, my edges were too sharp
and I actually gonna back and repainted a couple
paintings that I realized needed smoother edger.
So you have to be very careful doing that.
You can also tap the edge
I should have a brush
in my hand as I'm doing this so if I accidentally smooth something out too
much, I'll repaint
There's a nice little spot there where the edges are lost.
So I like to get that.
Even this edge ultimately will be
a little softer too. But
I'm also going to repaint that because I don't love my
color there. So I'm gonna try to fix that as I go.
This edge can be lost.
This whole area's gonna be smoothed out
Sargent was amazing
at this but he seemed to have done it as he put the paint on.
I don't usually do that. If I was better I probably would.
Sargent was on another level so.
Let's see here.
Could you move your left
hand down your knee a little bit? Towards it. Like that? Thank you.
Lovely thank you. I'm kinda -
bring this arm together a little bit in here. Don't wanna go too long there.
Let's get this
Not doing a very good job there. I'll try to improve that
as I go. Generally
I just wanna take out some of my overly marky quality here,
it's too busy.
Turn your shoulder to the right just a little, other way.
Left I'm sorry. Right, left, it's
confusing. That's lovely thank you, appreciate it.
Trying to see
painting and I don't even know what right and left is, I don't know.
Yeah, I just -
alright let's see here. Get in a few highlights.
That's a lot of red for that
spot. Let's try blue
instead. The light is a florescent light it looks
like it's cooler so I can see some blues and so the reds are gonna be more in the
half tone areas or areas like
Round off that shoulder a little bit.
This shadow needs to be darker.
And I really wanna get that edge in there. We don't have a lot of time left
this morning so I should probably work on that.
It's important to get this in the right spot. It's really important
shadow. It's the darkest one on the front part of her body. I really wanna get that
to be really nice
having this dark enough if what's gonna make this space read from further back
to forward. Having the proper value in
this area. So we'll see if we
can't get that a little better. So I'm squinting a lot, I should
have said that earlier but squint a lot to see what it
looks like. Try to paint what you see when you're squinting.
When I squint this shadow becomes
one flat shape. That's
the key. A flat shape. Get the overall value
as accurate as you can. Now while I've got that on the brush, let's
put some back here in this arm.
I'm gonna start really getting that in there.
Big flat shape again. It's not
perfect yet but we'll get it.
Drawing wise I don't wanna go too wide back there, maybe I need to come
just in a little bit here.
the oblique is there.
angles, angles. The better you can see angles, the better off you are.
Alright. Pose looks amazing.
I have no excuse.
If I can't it right it's my fault. You have to take responsibility.
hand I'm gonna lower this a bit. This distance in general
has to come down. So this leg is also
gonna come down a bit. All of this I think is okay
since I made her head bigger, it's still a little off but I
think I can get this. Here's another thing about brush work.
It's good to move your brush in
unpredictable direction so sometimes
I've looked at someone like Sargent and you'll see
I don't know if he's the best example because he's fairly conservative
but occasionally you'll see a brush mark going
this way. Or
kinda coming out to the side or
sideways marks. Instead of the typical follow the form
marks, sometimes the best thing you can do is go
against the form the other way.
What you'll get is more interesting surface and then what you do
is I'll show you after I do this. So after you put these marks on -
so let's just
say I have these marks in here. Let's just pretend
I had the arm in the right spot. Yeah.
I can see the spine of the scapula
kinda coming. There's a beautiful shape there.
I love that. So let's say I had these weird marks in here.
Then what you do is you just -
you just mix
your background tone again
and you go back over it, like this
well hopefully you get the value back in there.
So then you redraw that edge. And then what you have is
you have these marks going this way, which I think looks better I mean I
didn't - this isn't a great example yet but the idea
is to have unpredictable marks. And if you look at
really good paintings by - someone I love is Mancini. Antonio Mancini
is amazing at that. The idea is to have an
interesting paint surface. The surface should be interesting.
Which is something you don't find in a lot of academic painting.
Is your back alright? It's hurting isn't it?
Can you turn a little to you - away from me. That other way, sorry
the opposite. I don't know what - yeah I guess that's towards me.
Sorry a little further. Like there we go.
Beautiful thanks. See I don't even know what direction is what.
I have no idea.
Anyway the mark making is the main thing there, you wanna get - someone -
another great one is Mary Cassatt. You look at Mary Cassatt
pastels. Or not pastels, paintings of
a lot of women with their children. Amazing markmaking.
Kind of going all over the place but the drawing is so good and the
combination of beautiful drawing and kind of almost crazy mark making
it's a great combination. So what I want in this painting is
accurate drawing but somewhat experimental
brush marks. I think that's an exciting
kinda thing. Let's do -
I see that mark in her hair. I love
the dark shape in the front of her
hair. That's really important
color in this painting or just
getting that dark defined.
Still using the same colors.
Values. I wouldn't say the value is more important than the color, it's not but
the value is gonna be the thing that I think your eye
picks up on lights and darks quicker than color
I think that light and dark is more what you've used
to define and orient yourself like as a person. You get up in the morning
if it's dark in your room you can't see. You look for something that's light. You don't
look for something that's green or red, you see light and dark so
I think that it's more essential that you define where your lights and darks
are but ultimately in painting, color can be just as
important. It's just that maybe it's not the first thing a person's
Good to define these darks here to kinda start to
really finish up that value range a little bit more.
During the break we moved the heaters a little bit and
you know for the purpose of this video we have the heaters a little further away
from the model but normally when I'm working with the model, the
model's comfort comes before anything. You know I can't
paint generally if I know the model's
in a lot of pain or cold. So I always make sure the studio's warm, get the heater set up,
try to get a pose that doesn't cause permanent physical
damage, you know. We like people's legs to work after the pose.
So be aware of it, you know I've been in studios where the model
obviously wasn't happy and the teacher didn't even care. And I always thought that
was weird. So we do care.
I also have my ways
of bribing the model. I'll say you're doing such
a great job, thank you so much. Secretly I'm
praying that she can keep doing the pose. Like all I need is another
I'm a bit of phony I'll say
oh how are you feeling, how are you feeling, are you doing okay? My way of
actually saying please give me another five minutes. I just need
another five minutes. You have to joke - if you can joke about your
pain that's a good thing I think. Right what's the saying
it's not if you're in pain, it's if you mind it.
Do you mind? Alright let's get this shadow
in, back to actual painting related things. I want
all of these shadows to kind of relate. Alright.
Where was I? I should get some darks defined in here again.
This leg is weird.
Everything's weird. That's okay we're gonna fix it.
mark is here, I'm lowering that right now to there.
So I've made the entire body bigger today. I
basically have repainted everything today. Yesterday I
got off to a bit of a rough start. I don't know why but
maybe the fact that there's 25 cameras
on me has something to do with it. In any case
I'm redoing some of those initial things I did.
Now let's see here. Gotta be careful
in here I don't go too big. Look at this angle. Angle from
shoulder to the knee can probably be a little shorter there.
I'm not entirely sure yet. There's an interesting thing in the
background, there's an edge of the molding on the wall.
And the good thing about that
is it's another compositional element we can use
to tie the figure into the background.
In other words like I can mix one of the same colors I was using
and put it right in here in the background. I don't know exactly where it's gonna
be yet but maybe it follows the direction of the knee a little bit.
It can be movable. In other words, you can kinda choose
where you want that. Right now it's a bit awkward because it's almost tangent to the leg.
That's a bit awkward. It almost comes out right from the top of it.
So I may end up moving that. But it's good to
have - take this color and
put it right in the figure.
Anyway. Might be a bit too blue. Alright, break.
Alright let's take a little break here.
So we went from
working on the marks on the arm
into working on the marks in the background.
We can take a break.
15 minute pose. I typically work
in three hour blocks. So we started around 9, 9 to noon, take an
hour lunch, then start again. So this will be the last one for the morning.
I keep having deja vu. I don't know
what it is exactly. Maybe because I've done this like
two thousand times. That could have something to do with it but...
This pose I'm gonna try to
neaten up this crazy looking mutated leg a little bit. It looks a little funky
since I've redrawn it several times. Probably still a little big now.
So I'm gonna try to work that out.
Let's see. All of this is probably a little bit big.
Alright great, that looks beautiful thank you.
away from me a little bit. Yeah, we got it right, that's the first time I've managed to
describe it accurately. Alright, great.
Tiny bit more. That's good.
Close enough. Alright. Let's see. This arm is probably too
long now. Big surprise I have to fix my proportions.
Let's see. Let's make that a little smaller.
I can't really make the leg smaller until I fix the arm.
So I'm gonna try to do that. Let's just
see if the elbow is still the same place I had it before.
Generally I'm thinking elbow straight down from the middle of her head.
That's gonna be the measurement I always go back to.
So let's do that again.
I'm gonna make this arm a bit
If you're shortening it
you have to make it thinner as well.
Proportions are weird, they always go together.
There we go.
Let's see here.
The top of the arm is gonna end up
here. The wrist, maybe the hand will be further out.
One knee, the other knee.
I said I was gonna
work on the leg and then of course I saw something in the neck that needed to be worked on so
I'll get to the leg in a minute.
I blended this area before and it needed that edge redefined.
And sometimes I'll blend something three or four times
and keep kinda going back and forth.
I can make her a little thinner here.
Made this a little too big, let's see.
I should have this more defined center line
of the back. I can almost - completely
foreshortened over here. I can see a little bit of that center line.
Just following the angle of the spine here.
Need to mix a little darker tone.
I wanna get this foreshortening right here.
Foreshortening is good because it helps you show
three dimensional space. So some people say I don't wanna do this,
it's foreshortened, it's hard. Maybe it's hard but the key
if getting the angles right, essentially foreshortening the
means that the length shortens, the width stays the same
Here I really wanna show the planes of her
back. Like the pelvis to the side of her body, the side plane versus
the back plane. I want them both to work
in the right proportion. Let's see here.
Had the necklace, took the necklace out.
That's the way it is. I gotta get the proportion of the neck right. The necklace
doesn't necessarily help for that. It can help show the roundness though but
I'm not overly concerned with that yet, I'd rather get the proportion right.
The width of the neck is more important.
It's amazing the difference one or two little marks can make
in the proportion. Let's see.
Sometimes I'm unsure of a mark but I'll try it anyway just to see
if it looks right. I know that doesn't sound very
theory approved. But I think that's a good way to
sometimes get interesting, unpredictable marks. Try something
out if you get the idea that it might look good.
Give it a shot.
And the other thing you can do is if your drawing is a little bit
off, obviously we want it to be as accurate as
we can get but if it is a little off you can still go for the right
value of a shape. For example this arm - I may not have
the placement quite right but - and maybe I'm not quite sure
of that, but what I can be sure of is it needs that darkness
in that area there so let's mix a nice dark. Like a warm
dark and put that in there. Just because I think that the painting
needs it. It really needs the
visual strength of that shape there.
Let's see. These two shadows kind of work together. They're similar. And
they're also on a similar height in terms of the
composition itself. So even though I'm not sure about it yet
I know that some of that will be in the right place. You know not
maybe the contours but maybe somewhere in here it will be right. So
I'm trying it anyway. Even though
I know it's probably gonna have to be adjusted. This is the top of the cushion.
So her hand is gonna be
somewhere here. Somewhere there.
Somewhere here, somewhere there. Somewhere
in this general area is where that's gonna be.
It's good that we're having lunch soon because I'm almost
out of a couple bits of paint.
That's actually a
shadow being cast back there. I couldn't see it at first.
Cast shadow here. That's interesting. There's so many
lights in here it was difficult for me to see exactly where
the lights and the shadows were.
Let's see here.
It's a little too light I think.
A little darker now as I go down the plane of her back.
Kinda gradually going light to dark.
I wouldn't say it's dark exactly but it's a darker value.
And that to that.
Bring that together a little bit, I want
to think of this again as one form going around.
Alright let's mix the dark again.
Let's see here.
I love that color in her hair. After I do this one dark I'm
gonna try - and if you run out of
a color, replenish it right away.
I might have to make a trip to the art store
Maybe just a basic line down
I'm not sure if this is exact but it's close.
Alright. I think it's time for us to take a lunch break.
So we'll get back to this in a little while.
And I'll continue where I left off here. Thanks for watching.
Took a little break and now
I'm gonna try to fix some of the proportions that are still
a little off. Like this leg still looks big to me.
I don't exactly know why yet. I think it's a combination of everything as I go
down. Probably everything's a little bit big and I'm gonna try
to adjust that as I go. And hopefully I can get that
at least down today so I can get into a little more
rendering of the form. Because I would like to
bring out the 3D quality that I'm looking for.
But again I don't wanna do any of that until
the proportions are at least
95 percent workable.
Clean the brush.
Alright can you turn your shoulders away from
me. Yeah that way, that is pretty good.
That is beautiful, thank you.
It's like exact. So I have no
excuse. She's exactly in the pose
I'm gonna make - I'm gonna work on her head actually. I was gonna work on the leg
but sometimes if something looks too big is because something else
is too small. I still think the head could be improved.
Proportion wise. I mean the drawing on the head could be improved
but proportionally I don't quite
feel good about that yet. I wanna get that a little better.
Of course that doesn't mean that I'm
right but it doesn't mean that I'm gonna try it.
You never know until you
I'm gonna try making the head just a little bigger.
And then everything is
magically gonna fall into place. Of course that's not true, that doesn't work
that way. That's
part of real drawing and real painting is that
it's not like working from a
photograph. Everything needs to be moved around and
into place. It's like one of those puzzles like you can't move
one part unless you move another part. Everything effects everything else.
So as I'm painting I'm gradually
making smaller and smaller adjustments.
I'm not gonna repaint her head again.
I only have so much patience. If I did that I might lose my mind.
I don't want that. I only have so many brain
cells left anyway so.
I love that shadow there by that arm. Let's see if the elbow's still straight down from
the middle of the head. Yeah that's about down there. Well I'm a little off with that.
My elbow is too far.
Turn back towards me a little. Yeah.
That helps me.
I love that necklace, I'm gonna put it in.
Even though I'll probably have to take it out again.
I'm gonna do it anyway. Maybe I'll get lucky and it'll just happen to be
perfect. Of course that's not really how painting
works but I like the necklace because it takes the pose
away from just the too academic
It gives it a more real vibe.
Well if I can get it in the right place.
You can already see that that's not quite where I want it.
Anyway. Just to give you a not for now
I guess. It is what it is.
I'm looking at where this edge
of her trapezius and shoulder is in relation to her chin
here. Slightly higher. That should be about right.
I know I'm close there. That's not quite
right but it's close.
I wanna make sure I move forward here and don't
revise something that doesn't need to be revised I need to revise the important things.
Which for me the main thing is the size of that lower leg.
That won't really be done until
I fix some things in the upper body.
Because everything works together in this pose to make
Make sure that shadow's dark enough. I don't know what I was doing there.
Go a little darker with that shadow.
I love the color in here.
I should be careful here let's see.
Is it possible to move your elbow closer to your body. Like that side. Left
one, sorry. Yeah like that is that alright? That's great, thank you.
Just wanted to make sure it was possible for you to physically do that because
that's where I had the arm but I wasn't - I just had to check.
It's fine. The further I get the less that will matter\
because I'll get to a point where I won't make any changes but I'm still at that
slightly unsure point where when I see something I won't - if it's just my
error, you know I have to make sure that I'm
kinda paying attention.
So to speak.
this together a bit. A little more warmth
In this area.
I like using these crossing motions because to me
it kind of acknowledges the roundness of the form a little bit
I don't wanna overdo that though but I do like that.
Well we'll see where that goes.
This edge is a cast shadow so I want this
edge to be pretty sharp
edge. Not only does it show variety
but it helps increase the contrast without making something
actually darker, just the sharpness of the edge
increases the contrast.
Let's see where that elbow is now that I have to remember that it's back in the middle of the head again.
That's close. It's close. Still might be
a little long there but we will see.
While my pallet is a little bit
cleaner I'm gonna try for that crazy green in her hair again. I'm only using
ultramarine blue and cad yellow. So this is not gonna give me the intensity of like
a phthalo blue. But I'm mixing a blue green
so if you do it right it's more blue. If you do it right
you can at least approximate
get that brush hair outta there. You can at least approximate
the intensity of a phthalo. Because it's gonna be the only
the only place in the painting maybe that's that bright of a
green. Although maybe if we
get a little further maybe they'll be something out here that's green.
Just to echo the color of her hair. That might
be interesting. I think that color is fun
enough where maybe we can put it somewhere else too. It's kind of a
Green. Alright. Green hair.
Like my green hair.
I gotta entertain myself here a little bit.
Alright let's see what was I doing?
More green. Let's go crazy with the green.
Not even using a green I'm mixing all my greens.
That's the trick.
People think well who cares I'll just buy a green but then
they never get really good color.
It's always a little off. It's like a bunch of
collection of colors you get at the art store.
You don't really - I don't think that's a good
way to do it. You know an
amateur painter would just get whatever. But the more
you learn how color works the more you realize it doesn't really matter
what you use as long as you know what's intense
and what's not. I could be using phthalo blue instead of ultramarine.
The painting shouldn't look that different if you do that but
alright let's see here.
I really need to start getting these proportions right.
If this leg is there.
I can make it a little thinner. I don't know why
I have such a temptation to make it really big here.
There's something off still about my
drawing and I'm not totally sure what it is but I'm just gonna
keep going until I identify things that are obvious to me.
Somebody watching can probably tell exactly what the problem is and they're thinking
why doesn't get do this or that. That's the strange thing about
Hopefully whatever it is I'll get that
one of these times.
.Making her head a little wider there
Sometimes I get tense in front of the camera and I realize my shoulders are up there so I have to just
remember to breathe. Somebody told me that today.
Thank you for the advice.
Breathing is important.
Okay. There we go.
The further you get you can start
really bringing out the colors. Like in her ear there's a deep
I like that color. I'm using alizarin and
and the burnt sienna.
But I haven't really gone after the color yet because I'm not -
I'm not positive I want it there but I should put in the red of her
ear a little bit, let's try that. At least I don't want my
entire painting to be all grays and blues.
So there's this beautiful color there. It's a very subtle
Okay let's see here
Whenever someone has hair that kinda sticks up
in a way you always have to remember not to get caught up by that.
Think of the shape of the skull - her skull would be the same
shape regardless of her hair do and I think for me I gotta
a little bit too caught up in looking at the hair and the color
and it's easy to lose the proportion if you do that.
So her hair is the same - her skull is the same shape
regardless of what her hair might
For some reason I think I can make the neck a little longer in there
I don't know what I was doing there.
Let's try it out.
I think that's
the right idea.
I want a little more
blue in this background I think. Eventually.
\What I like to do is as I get towards the edge of her,
maybe go a tiny bit darker in the background, just along
the edges so that you increase that contrast a little bit.
That's pretty common if you look at Dutch painters like
Rembrandt does it, Vermeer does it a lot. Just getting that little bit darker
along the edge to show a little more
Let's see here.
go a little to your - turn away from me a little.
Is that alright? Thank you, is your back hurting? I could tell
something was going on there. Oh that's
what it was. That's funny. I could see
it. I knew it. That's hilarious.
You can sneeze, don't be embarrassed. I did that the other day
though. I was gonna sneeze - I went into the art store to get paint and like the -
I'd been driving for like half an hour then right when I step into the store
then I start to sneeze. I'm like what the heck is that. Like right when I go into a
place. Actually now bring your shoulder back the other way.
Yeah for some reason, I don't know what happened it went way further. It seemed like that
shoulder got tensed up or something. That's weird.
How is it that people - yeah that's better. It's so strange
I basically have this arm straight up and down.
Move your elbow away from your body but keep your shoulder there. Like that sorta thing
is that okay? A little further, can you go the elbow, yeah like
that. That looks the best I think. I like this arm to basically
function as a vertical. So there's elements in the
painting that are kind of stabilizing things and this
is one of them and this leg is another one. So I want them
anchor points there. To me
that visually looks better to have that sort of thing happening.
What was I doing? Let's go back
into the dark here.
Back into the dark.
Let's see what
was I doing?
I think I can bring everything up a little bit
Like this hand should actually be here.
Which means that should be shorter which is gonna make this smaller,
which means fun I get to repaint a whole bunch of things.
But that's alright.
So let's take a break while I contemplate more revisions.
We're getting the pose here.
kinda blending technique. Sometimes you take a big brush,
make sure it's dry,
and you can kinda tap an edge
to soften it, sort of like this.
I don't like to do this too much, it can kind of
mess up your painting but it works in a
earlier stage of the painting. If you have too many small marks like I do
you can kinda take some things out with it.
Let's try to get this. Let's see
alright. Actually I should look at the pose now.
Alright that looks pretty good. Thank you.
Let's get that hand in there.
Meaning this hand.
I'm not gonna define the fingers yet but I'll just put -
I just wanna place that hand right
the thumb is about there. Let's see the thumb straight
down from her cheekbone.
So the thumb should be there. That is roughly
where that's gonna be. That little shape.
I think all of this needs to come up a little bit.
So the top of her knuckles is gonna be
maybe here. I think that's gonna help.
We'll see I guess. In general this stuff has to come up
a little bit.
One knee is there.
Is that too much of an angle there?
I made her into like - there's an artist,
mannerist artist, named Pontormo. Jacopo Pontormo, he
was famous for having elongated figures. Like small heads
very long. I've kinda done that to her, I've kinda elongated her.
Ultimately I don't want that. I just want accurate
proportions. This is gonna come up.
So this arm, let's
see. I wanna get that look of the
muscles in the upper arm transitioning in
to the lower arm right there.
I like that shape right there.
This is strange.
That needs to be darker.
Move your elbow back towards your body
just a little - yeah that one. That okay? Thank you.
Awesome. This head
I've drawn in here is not quite
where I'd like it. Let's see.
Maybe I can show a little more of her nose.
I love that shape there.
It's interesting but fixing one area sometimes requires you to
go into another area of the painting first.
I love the angle of her head right now.
Trying to adjust that a little
Still adjusting the size of her head.
Who knows how many times it'll take?
I don't wanna go too big I just want it to be
A little bit bigger on that.
Essentially I'm making her head a little wider.
And then I can make it a little taller as well.
Longer in the neck.
Turn your shoulders
away from me a little. That way. Yeah baby, thank you.
Let's see here, that's pretty close.
That's very close. The more I ask
her to adjust the less of an excuse if I don't
better watch what I do here. Can't blame the model
anymore if I don't get it right. Just trying to get the shape
of her skull a little bit better. I don't feel like I quite have it.
It's funny so I start off
by trying to do the arm but pretty soon I get side tracked into the head.
That's natural in a way because there's always something and sometimes getting this right
I realize that things have to be working
elsewhere so that I have the right thing to compare
This is a little higher.
Piece of light there, whoops that's too light. That's alright.
We'll get back to that.
I love the cute little shape of her nose that I can just see that
tip of it and I wanna get that.
It's a little higher maybe.
There we are
Yeah there's the littlest bit, maybe that's okay for now.
Alright. So everything I'm doing here I'm
trying to benefit this area by
adjusting this. I'm trying to make all of this
work better with this before I get too caught up
working or not working in here. One thing I can see
that I like right now
is a bit more shape in the pelvis.
Needs to be warmer. Warmer tone.
should say this, with the shadows I go a little bit darker then I think they are at
first just so they really stand out. This
painting in this pose, we don't have a really strong contrast, there's enough
of one but it's not really strong. So alright
so this - let's see here.
I'm bringing the hand up a little bit so the top of the hand is gonna be there.
Let's just put a mark.
So that hand's coming up a little bit.
That's a hand.
Which means all of this is also going to come up.
Which is what this painting needs, it's too
big down here for there so finally
I can see the light at the end of the
tunnel of getting correct proportions to kind of
ridiculous the amount of changes I go through to get that but
that's what it takes.
I like the way I can see the rounded shape of her rib cage.
Love that shape.
And I love that arm that she just moved, that's a great looking arm.
I really wanna get that, I love how they can see the elbow
kinda sticking out on a point right there right now, that's an interesting shape.
Always try things out, see if they look good.
They just might. They might not look right but...
Let's try a cooler tone.
The top of that arm.
That might be too
far. I could probably achieve these exact colors
with even a more limited pallet than this. I've got this bright red. No where am I using
anything close to alizarin in this painting. So that tells you you don't really need it. The same
with the cadmium yellow. Don't really need that except maybe to get
this hair. Even the ultramarine blue. You know other then the hair you don't need
this, this, or that. I could do the same
exact painting with black, one red,
naples yellow, and lead white, you know.
That's all you really need.
So this is not a limited pallet. This
is an unlimited pallet. Too many
Well I'd guess you'd call it a full color pallet but
you know I'm amazed how people
bring to class sometimes I'll have five different reds. How the heck do you
pick which one you want. Spend so much time picking which red you want to use.
I don't like that idea because painting's difficult enough,
why waste time trying to pick which red you like? Too many
choices you know. That's the problem with
things these days, you have too many choices. They should outlaw all
reds except for burnt sienna.
People make fun of me for using burnt sienna sometimes.
Maybe it's the name.
Burnt sienna man.
Let's put a little burnt sienna in there. Okay.
The longer the day goes, the more
I start talking about random things so
apologies. Alright let's see her arm is
in the right spot, I need to thicken it up a little bit. Let's go
over here. You can see the kind of
shape of the muscle going across
here. I like that shape. It gives it
some nice rhythm there. Then you can see that shape here again.
A little more color.
So the whole point of all the stuff I'm doing up here so that I can
shorten that outer proportion, lower leg.
That's the whole idea of
all of this stress
is getting that shape right. Let's see here.
Hand is gonna be there. Even this might still come up a little bit.
Maybe not. Maybe, maybe not.
But I do know one thing, as I brought up
that hand significantly
and the point of doing that
is so that I can bring up the legs. So let's try to do that
now. Somewhat like this.
I know that's close, it's gotta be,
it's pretty close. Just bringing up this arm
enough as well.
Let's see. If the shoulder in the right place? I don't really want
to adjust this too much if the shoulder isn't in the right place. It's difficult to
have the hand in the elbow in the right place because they're all attached
so you gotta have the shoulder
somewhat accurate before you start moving the hand around. It's all
Let's see here.
Can you turn away from me a little? That way. That okay?
Alright what am I doing here?
Is that too low? Maybe it is.
Something's going on here that's not right, I don't have that
head sitting on the neck correctly.
Really this should flow into that
that line there. There's kind of that rhythm of
moving from the top of the figure through the bottom
I don't know how many times
this will take me but we'll see.
Incessantly cleaning his brushes, right? This one's trying to do here,
this is a little funky but it's not really far off.
It's definitely a little off.
Let's see here.
As the day goes I have to watch out - I'll think I'm
making the right adjustment is the wrong thing
and I don't want that to happen, I want to get her neck the right thickness.
It's what's going to give her a more feminine quality.
But if I don't go too thin it'll just look weird. I don't want that.
I just want it to look good.
This is the baseboard on the far wall
but I might make something into a
landscape out here, I don't know what but that's for later in the painting.
It's fun to invent something in the background when you've spent
all this time trying to get the figure accurate it's fun to actually make something up too.
Was that a
sneeze or is that a movement of my back hurts?
That's what that was? The almost
sneeze, that's gonna be the title of the painting.
You just titled my painting for me.
The never happening sneeze.
It's a good title for a
painting like this right. The sneeze that
never was. Alright.
let's take a break. Back
in five minutes.
operation. Duel effort operation
thing. It's always the artist and the model,
everybody's working hard.
Alright. Let's see.
It's interesting. I feel like - I've changed almost everything today and I feel like
from yesterday to now it's maybe 20 percent better.
That's the way it is, it starts fast and goes gradually slower. It's like throwing a
baseball up in the air. Starts fast and then goes gradually slower,
then everything crashes down.
Anyway hopefully that won't happen. I'm still working on her
shoulders too. This whole articulation is a little weird, I think I have her nose -
her nose - her neck too thick. I can't quite tell though.
Sometimes you think something's too thick when it's actually just not long
enough. So you have to figure out which proportion needs to be
adjusted. Is it the length or the width. Both things
will do what you want. I think her neck needs to be longer though, I think it's in
this area. Let's see.
To me it's just something in that - something in there I don't quite have right.
I'm not quite getting that kind of
nice little movement of the muscles up into the skull the way I want.
So let's try it.
I think that's a little better.
I have been wanting to do that
green hair again. It's fun to try to
squeeze every bit of intensity out of your ultramarine blue
and cadmium yellow as you can. So her hair
color gives you a chance to see what you can do wiht it.
Really push that
color as far as you can
the thing to understand about that color is that it's a blue green, it's not
a yellow green so push the blue higher than the
yellow and you'll get a more accurate feeling
And the other interesting thing is, it's
the same value as the background but a different color.
So same value different color is interesting because visually
it's hard to see here because there's a shadow being cast
but visually the two things connect by value
but they're different in color. So neither one is lighter
in terms of light or dark but they're different with color.
That's a way to connect separate areas of your painting
if you wanna connect things
but still have some contrast.
value different color.
Alright let's see. I really need to get her
nose a nice shape. Let's go after that again I've probably painted her nose
about 30 times now.
I mean you could actually go back and count in this video how many times I've done it.
I wonder what it is. I know I'm doing it again right
And then I generally if - I don't mind painting it
30 times as long as I'm a little closer each time.
How red is it? Not that red.
I wanna sneak some reds in there without
Maybe as I go here I'm gonna make her head still a little
bigger. Let's see
if I do that how that looks. I'm on the edge of it being
too big I think. Maybe not.
Maybe I can get it.
There's a confident artist quote for you. Maybe I can
get it right.
There's that. The right or the wrong idea. I want
everything to be a little bigger, including her forehead.
Coming forward that way a little.
I like to find areas on the painting where I can make straight
horizontal or straight vertical marks. I find that those
are stabilizing and they give a sense of calm
to the viewer's mind. The other thing that's good
about doing that is that you're prioritizing
the position of a mark over the exact shape.
You know I may not know the exact shape of the side of her skull here
but maybe I can just get the placement of the shape right.
So you know if you think about like a computer
screen with all the pixels, all - if you look at an image on a computer
everything on there is either a vertical or a horizontal. There's
no diagonals in there as far as I know. Maybe at
a very microscopic level there are but basically it's all made up of
tiny squares so you can paint that way, you can paint the whole thing
with squares and if you place them right it's not gonna look good.
You have to place them right though or else it won't work.
Let's see here my shoulders are a little off, I need
to maybe this has to come up a little.
I don't feel like I'm getting
the sense of the two shoulders being
part of the same torso here. I'm not quite sure what it is,
what I'm doing.
Can you turn back towards me a tiny bit, like that, thank you.
Can I do this? Let's see.
Tricky, tricky, tricky, trick.
How many times am I gonna redo this part, I dunno.
I don't know if this is the right thing to do here but I'm
I'm trying to get a better
shape in this whole area. Sometimes you get -
if you get this length right then that's off so.
Let's see here.
That's why I'm continually moving that up a little because
I feel that something's off with this. I can't quite
tell what it is yet.
Now maybe it was okay.
So it's close but
I've also repainted her forehead probably 30 times,
slowly moving it to the left here. And I'm
unsure if that's exactly where I want it but I'm gonna give it a short.
that's a little off.
Need to redo this dark there.
Might be coming too far with the head now.
We'll see I can always take it back a little.
Yeah I went a little too
far with it.
Well we'll get back to the head.
That's a little thin. Take your finger and smear the color
into the dark and then repaint the edge.
And of course I'm unsure if I have
this edge even in the right spot but
I think it's close.
The top of that shoulder could come up
a little. And of course any
time I can bring that shoulder up I think that's good because
that allows me to bring the legs up. So I'm still thinking about the legs
even though I'm continually messing around with the shoulder here.
sometimes you get the most subtle little movement.
And it can help other areas.
Well hopefully helps.
It's not quite what I wanted in there, I wanted this.
Where was I.
It's easy to lose track of what you're doing when you're skipping all around the whole painting like
I'm doing. It ain't easy.
It's not supposed to be easy I guess.
Good painting isn't easy. The funny thing is even bad painting
Some of the most difficult paintings I've done are ones that didn't turn out right.
You kinda struggle with them the whole time.
Is it possible to move your left arm back a little without moving the other one?
Like just the elbow back towards your
body a little. Like that yeah is that alright? Thank you.
Yeah let's see.
The question is do I like where I
I can move her around all day but ultimately I gotta
make a decision her on what the heck I'm doing.
I had a better likeness on the head before but
then I moved it so that's the way it is sometimes, you gotta move stuff. But
then you might now have as good of a likeness when you do that so then you gotta get that back
That's the way it goes.
I had what I thought was a brilliant idea with the neck before but I don't know if it works.
Good lord. Okay.
I'm gonna get something right here.
I thought I had it figured out but once you get cocky with it.
Painting humbles you.
I made it too wide, let's see here.
I guess I'll finally use this brush for something.
That should be that warm tone under the chin.
There's this pretty little shadow there.
I want this shape of her neck to flow into this
If I make that wider than this well let's see.
I know it's close but it's a little off still.
I'm going back
and forth on this shoulder, deciding what I wanna do with it.
I think I can
possibly bring it out to the left.
Not positive about this
choice to do it but I'm gonna try it.
There is a time when I do wanna get into more detail
and I don't wanna have to keep moving it.
I think that's -
I have her less foreshortened than she is.
Could come in a bit.
This arm was further out before, I'm not sure how that was but
I may have
made the top of her head too big.
So I'm gonna take that back a little bit
Can't even see that part of the canvas.
Bringing that in can help the
composition because again if I go smaller here that means I can bring the
leg up too. So all of this has to do with what's happening here
As it is this leg can be higher.
Alright. Let's take a break, reset my brain.
telling the model that last pose, I kinda didn't go
forward or back. I feel like I did a sideways thing. And sometimes I can make some
progress then all of the sudden I'll see things wrongly and I'll kinda mess up
some of the work I did. I don't really - I don't think I improved the head that last time
so I need to figure this out like proportionally. If
only I knew the magical five little marks. Because I know
there are five marks I could do that would improve everything here.
But if you think of all the marks you make, some are better than others, it's just the way it is.
So the key is to
figure out the right ones.
The tape mark's on the back of that thing. You got it?
That's funny. Okay. Let's see
what I wanna do this time.
This area here.
At some point I might give her an eye, I'm just
not gonna put the eye in yet if I'm not totally confident
with the head placement. I want that to all work
together. And I think -
I think, I think, I think, that the eyebrow,
well eyelash that is will be about,
but that's gonna have to be moved around a little
Try to fix
the top of her head here because I made the top of the head too
big so we're taking that back down a little so that I actually have a
coherent looking skull here.
The pose is just about perfect right now.
I'm debating what to do with this far arm because
there was a time when it went in a little bit here which I thought looked
really interesting. Now it's doing more of a generalized curve
that's the kinda that's difficult to decide because I think they both look
good. I have to decide what looks good in
the overall scheme of the painting.
I like this slight movement there because I think it goes
against this rhythm a little, adds another element to it.
I think I'll leave it there for now. What I do see though is I can see
that far edge of the scapula or maybe it's the top of the
shoulder sticking up a little bit there. I like that.
That little bit adds to a 3D
effect that I'd like to get.
There's that neck which I still think I have too thick.
I can't quite tell what it is.
I feel like I'm close but
not quite there.
Maybe if I do that.
Is that worse? I can't quite tell.
Try one thing while I'm doing this
leg definitely has to come up.
I've been debating that the entire
time it's been this thing. I know that
that has to happen for the overall proportion.
Could you tilt your head towards me? Like the top of your - yeah
is that alright? Thank you. Yeah, that looks a little better.
That's one thing I always can't quite see from this spot but I
can kinda tell when it's different.
I had made the head bigger but
I may have gone too far with it.
I don't know, we'll see.
When I do these backgrounds
I get excited about them. This is my chance to do a
mini Van Gogh. These swirly brush marks.
I don't wanna get too excited about it yet but
because I still have a lot of work to do throughout this painting.
I do find that fun.
I love expressionist painting.
Now is that too far.
Don't wanna make her neck too thin.
That would be the wrong way to go. If the head is too small
you have to work it out with the rest
of the painting.
That might have been the wrong way to go. We'll
I'll get back to that.
working on the size of that shoulder. Can I make it small
can I lower it is my big debate here. I don't know if I should do that.
This feels big to me. That length.
Alright. Here we go. TIme to do that.
Thinning out her body a little bit.
That far shoulder.
redo it with a background.
Even here still I can make that smaller.
Interesting. Thin her out.
I spent so much time making her wider.
I don't know why making things
wider seems harder for me than making things
shorter. It's an interesting thing.
Turn away from me a tiny bit. That - yeah that's
great. Actually you can even maybe come back now. That's fine.
Thanks. Just had to see it to see where I was going wrong.
Of course I can see it
I'm just hesitant to make the change because I know it's gonna be a lot of work.
That's the joy of painting, as Bob Ross
would say. Turn your head
towards me a little. Yeah like that, yeah, thank you.
I guess I'll worry about the exact likeness
later. What I really need to do is work on the
Just get the skull shape right.
Yeah that seems too thin.
So I need to foreshorten her more. I have her too
wide this way, which is not an easy
thing to fix but I'm gonna try it. I'm gonna keep going here.
See what happens.
But of course I'm gonna start by working on the upper body first.
Like the nose again.
Sometimes what happens is I think I'm making the right
adjustment and it turns out to not be the right adjustment so then I have to go and
reverse again. Go back through what I did.
Funny how that works.
But I do think if I can make her body still a little smaller that would be good for the
head. One of the reasons I struggle with the head so much I keep trying to make it bigger
maybe the natural thing if making the body a little smaller.
I was in denial about it I think.
I don't think it's a
big change but it is a change.
I do that
maybe this arm
is more here.
This is the hard part.
keep retrying something over and over and alright.
Take a break.
So my next plan is
I'm gonna attempt to thin out this torso a bit and
foreshorten that a bit more. And if I thin this out, that should
allow me to compress her here just a little bit which I think would help.
Alright we can take a break
I'm looking at the whole figure and it seems like I still wanna
make the head bigger in relation to the body and I've been struggling with that all day.
And I'm gonna just make the head a little bigger and see
if that maybe balances better with the entire figure.
I don't know what it is, I don't really want to make it into a mannerist figure with a small head, that's really
not what I want. Because I don't think the head can really get - if the head
got any smaller, I don't wanna lose this area of the figure.
I want that much of the leg. So the head needs to be a certain size for that to
work. So let's see if I can manage to fix that.
If I could do that by the end of the day, I could end on a
positive note, which is sometimes what I need.
Of course it's not a guarantee that that works but I'm gonna try it.
She doesn't have a big head, that's the thing but
for some reason looking at this pose I think I've made it too small.
Alright let me see here. Can you turn away from me
a little? Yeah like that. That's better.
Somehow it seems like your left shoulder is higher than it was
before. I don't know what it is. I'm trying to figure out why
that is. It's gotta be like the smallest movement. Can you just
tip your shoulders that way - or just like - not turn but tilt your whole body
that way. That's weird. Maybe
that does it. Or actually that looks more like it. That's more
like it right there. Thank you. And that right
arm, you can just leave it for now.
I'm gonna figure out the head here.
Fun. Alright let's see.
I think that this really should be higher so that
this whole thing needs to be out a little bit.
Like that. This is kind of extreme for the
last day but that's what it feels like it needs to me
is just that little bit of adjustment. Not a little
adjustments, fairly big adjustment. But I think I have the time to
do it. What that's gonna allow
me to hopefully do is make the neck a little longer too.
Let's take the forehead out to here.
Just simple shape.
Just get a head that's the right size in there.
And the neck as well.
I spent a lot of time going the wrong way I think.
That's slightly annoying but...
So the hair is gonna come up a little
bit. My favorite color in the whole
thing gets to come up to there.
Sometimes it looks better with less
detail if you get the things in the right spot.
And that's what I want here. I want just the main position of this head
to work better with the whole thing.
Ah the bright green. Guess I can get
back into that as well. Let's just try it
Put that spot right there.
I know that's a little strange looking right now.
Here we go. Up there.
The ear. Making
it longer will make it look thinner because it was looking
too wide to me so
Forehead comes out to there now.
That's a better size for this.
Am I a hundred percent sure of that? No, but I think it's gonna be better.
It's frustrating when you get into a little bit of rendering I think
the head was more finished earlier on
but you have to do what you have to do and getting the head the right size is important
or nothing will work.
of the jaw.
I'll worry about the likeness afterward.
I know it doesn't look like her now.
But I will get into
That's gonna be her nose.
Somewhere around there.
In to nose.
Man. So this whole shape
is way off.
Let's get her forehead just in there again.
I think I did this before. I'm remembering doing this and thinking it wasn't right.
But I think it needs it. The
whole head I dunno how I made it so small.
Strange how that happens.
So the skull let's see here.
Luckily I have room at the top
to do this. That's about as
high as I can go o have it still work. I don't love that that's
the shadow but
the whole reason I'm doing this is because I didn't think that the neck looked
long enough and because
areas in the bottom of the figure that I didn't think were in proportion.
Of course ultimately I do wanna -
I want a nicer shape in this neck.
More like this.
And I will get that in there.
Okay let's see here.
Bring that temple
out a little bit. So eyebrow, brow
ridge is there.
Let's try this bringing the hair
up a bit.
That feels better to me. I don't know
why that is.
I kept bringing it down.
Somewhere in that area.
So my shapes are a bit off here.
And I think that's a better size head.
That should allow me a little more flexibility when I
try to fix that shoulder. I think that's gonna work. Let's see
Where was I - that chin.
A little bit of - I love that little shape that she has
Top of the forehead, let's see.
The idea here
so that this is a better shape.
Sometimes a take a piece of paper towel and
kinda wipe off the paint so I can get a clear
mark on there. Like this.
A little more detail in there.
Whoops I just hit the mic. Hope I didn't make a
big noise there. Whoops.
I don't wanna go too big on the top of the head.
a timer isn't it. Alright.
Take a break. Try one more. What do we got one more 15.
Alright. One more 15 for today.
I'm gonna be
moving it up slowly. What I was just thinking is you can have the
angles right but if you're too wide in the figure -
angles can still be right but you're still too wide and I think that's an issue
I'm having. I need to compress her a little bit and foreshorten a little more
even though my angles aren't that far off.
The width is not quite right.
Foreshortening is one of those things that can easily change, like
one movement it's just everything can be different so
I'm gonna draw a little bit with the edge of my brush just so I can
not think about color and just think about the articulation of the figure a little more
without value and color. Alright let's see here.
Can you like bring your shoulder towards me
somehow. Like the top of your body towards me. Not
a turn like that but that's more like it but
now for some reason I can see parts of you that I couldn't before, I don't know what it is.
Maybe - let me see here. Can you bring this
towards that more?
That's probably better thank you. That's probably fine.
Let's see here. Who knows what I'm doing. There's like more
space. It looks like you're leaning off to the right more now.
Not your legs but your shoulders. The legs are good.
Where's the tape mark here?
Could you come this way a little bit? Yeah. Thanks.
you. Because I know I wasn't touching you when I was taping you.
That's probably better. Thanks.
It's funny how all of the sudden - alright let's go with it.
And just tilt your head towards me.
Sorry if you're doing something else right now. For some reason the position of your
shoulders is completely different right now. I don't know what it is.
Like the left shoulder was lower before, I wanna try to get that
back. Maybe I'll just go with it.
Are you relaxed? Do you feel relaxed. It seems like you've got a whole bunch of
maybe take that - yeah don't put that weight on that right shoulder.
Or it seems like that shoulder's higher now.
Maybe let that one be relaxed. Your right shoulder.
Sorry I'm being confusing..
Posing the model
sometimes - sorry about that. Alright
I'm just gonna go with it. You okay. Alright, I'm gonna draw.
Can you tilt the top of your head towards me, yeah like that, thank you.
That's great, thanks.
Ah it looks so pretty.
I'm trying to figure out why I can see so much of the top of your right shoulder now.
Can't quite figure it out. Can you move
your left elbow to the left - like out from your body. Yeah like
that. Is that weird feeling? Because it was a lot more further out
before, I'm trying to figure out why.
Yeah that looks better, thanks.
I know what I need to do anyway which is
foreshorten the body.
I don't know what I did, I got off on a tangent and kind of
confused myself here.
Everything I'm thinking about now has to do with thinning out the figure somehow
so I can make her a little smaller and
I feel like that head's not perfect but it's not at a point where I'm gonna
change the size of it anymore. So if I'm gonna make any changes I'll make the body
a little smaller.
Let's see what happens.
This could be a lot more maybe, let's see.
feels a little off to me.
Sometimes feel like that could be lower.
Let's see here.
Center line of the neck. Let's go back to the basic
Trying to get
this position of that upper shoulder a little bit better.
I like that I can see it raised up a little bit.
There we go let's try this.
Of course that means that that arm is gonna be
shorter. Which is not necessarily a
bad thing because I did get a little too close to the edge there.
Let's just shorten this.
I get obsessed with color and forget to just draw.
Not the best quality to have when you're trying to get the drawing.
right. Let's see here.
I think I'm getting
closer. Let's see. Seems a little
I can't believe I made one mark.
Alright let's see here. There we go.
I'm close. Close isn't good enough.
Gotta get it right.
That's her chin.
I love the shape of her chin.
I really wanna get it.
Alright where was I. That's a little bit better, it's still
feels a little off. Can't quite tell
what it is.
I think I spent about an hour making the head too wide, I don't know why I did that.
Well I do know why. I thought that the
head needed to be big but I'm gonna go
into the body again and continually
get a little smaller.
Sometimes you have to clean your pallet
to really get the dark. I wasn't getting a good color there.
Clean off a spot. I wanna try again here. Blue
a tiny bit of yellow, that's all I want. Just a
real dark green for her hair.
I'm just placing that shape again there.
Everything I'm doing now is to try to make her a little thinner.
Something in this area here is
I don't know why it
takes me so long to do those things. I guess I'll
just like the pain and suffering of redoing things a
Sometimes I get quiet,
that's because I'm concentrating and sometimes I have no clue
what I wanna do next and I'm just trying things out. It's part of painting,
It doesn't mean, for me, you don't always have every answer. I have to try a
few things out. So I'm still working on the proportion
of the head here. Just maybe taking
off a little there.
Which means that I can take off a little
there. So it's all about that
because I'm happy with my proportion in here.
So I'm trying to improve the
width of her neck right here. And then I'm
the rest of this
work with that.
I know it's close to this.
And this arm
interestingly is gonna
come up a little bit again.
I don't want her neck to look too thin I just
wanna get it just right.
Let's just really get that out of the way for now because that's throwing me off.
Maybe just get the entire width right
then I can concentrate on what's in between.
As the hand come up, which means all that
comes up a little bit.
.Let's redo that edge of the shoulder
Let's just get this the right shape.
I can even do that and then
repaint the edge.
Just so it's a least a little cleaner than I had it. I don't love
what I've got there right now but we'll see.
It's a little off
Still adjusting it. Let's see.
Back of that necklace.
Let's do that edge.
That proportion is weird, something is off.
I can't quite tell what.
this shoulder - can you bring your left elbow
into your body a little. That's great, thanks, is that okay?
Thanks a lot, I appreciate it.
Interesting shapes in her head too. I wanna get that nice
little shape of her chin.
I do wanna - eventually I'd love to get into a little more detail in the head too.
I'm using the edge of this brush to
try to get the sharpness, the line now. if I have to soften it I'll soften it afterwards
If it's too sharp - oops, that's a
timer. Alright. Break. Let's take a
Back and forth.
Alright this is gonna be the last one for today. And I'm still
messing with the proportions here but I'm gonna try to just
overall get an overall sense of the head size versus the
torso versus the leg and hopefully I can end on a good starting point for
tomorrow. I've redone the head a few more times than I
I'd like to admit but I'm gonna go for it
anyway. There we go.
Everything I'm doing here is
because of what I want to have in here. So it's the whole reason I
keep kinda going back and forth. But I am
kinda tempted to get into more a portrait of her and get a little more detail in the head.
We'll see about that
It would kind of be fun.
Alright, great. Looks good.
That looks great right now.
I like the angle I can see on the head and her nose
and all of that.
I'm not quite sure why I kept wanting
to turn her into a mannerist figure with a small head
but the key thing is to identify what's off
and be willing to try to fix it. Luckily I have
more time with the pose.
Unless she gets sick of me and decides to just run away.
So I just made the head a little bigger and I think that's really what it
distance from the chin to the nose is important for that size
shoulder. If I don't have that, everything gets thrown off.
So let's just remember that
the head doesn't get any smaller, just saying it outloud now
so I don't do it. I love that I can see her nose a little bit more.
It seems weird like why not just paint from a photograph
then right? It doesn't change or anything but there's
a camera doesn't pick up color the way
the human eye does. That's one thing. So there's a lot of reasons why
you wanna paint from life, assuming you get a long pose. It's just the
human eye sees things in a much different way. There aren't any
weird distortions. Cameras always distort
I love the angle of her head right now. You never know when you're gonna see your
favorite angle. And you kinda have to
go after it when you see it. Whoops.
What was I doing, oh yeah.
That's a better overall head size.
Just gonna put a few marks in there so I maintain that.
And it just happens that her shoulders are in the
perfect position right now. Maybe I can at lease get some
paint on there. I'm not sure
why I kept redoing this.
Sometimes I'll think I see something and I'll go off on like this
tangent for two hours and it's all work that I have to
take out. And none of it works. I don't know why that happens but...
That should be there.
Not quite the right brush.
Let's see here.
Debating on the
size - width of that arm.
Make sure I get the right
I want more paint in here.
That's too light.
There's a cool light hitting the spine of the scapula
in this area.
Just making a note of the color that I want there.
Sometimes I'll try out two or three
different colors just to see which I like the most.
I may - still gonna
work on that shape of her head a little bit
I need to slope her forehead a bit more so it's
going this way.
Could you move your
elbow back toward your body a little, thank you. That's great.
What is it here, I've moved that a couple times. I can't
figure out quite why I keep
You did awesome today.
I want this
here. I want it bigger. My goal here is to
make the head a little bigger without moving it that way.
I want this shoulder right there.
Can you turn your shoulders away from me a little?
Like that way, yeah. Thank you.
That okay? Thanks.
I can't figure out that.
Still seems weird there.
We don't see that much of her head.
Oh man. Alright.
Long day. I'm gonna try to fix this chin a little bit.
We'll get back to that.
Still wanna get that head the right
size. Alright so
today I basically almost repainted the whole thing. A lot of the proportions
are still a little bit off so I'm gonna keep going with that in the morning
I'll try to draw this head - maybe get a better likeness. I'd like
it to not get any bigger than that. I can't really go bigger
so I think I could make the neck a little thicker now.
Now that I made it bigger it seems like I made the neck
too thin. It's strange that's the way proportion is though, you go back and
forth with it and it's easy to make one thing get out of wack.
Compared to something else. So
let's see here. Put a little note on there. I'll get back
to that in the morning.
Well thanks for watching everyone.
Let's see here.
Alright so that was the end of day two
and I still need to articulate the head a little bit better. I've made it a
little bigger but the proportions are a little off from where she is.
First thing in the morning I'm gonna try to work on that and try to articulate that
a little bit better so it's not too big up there.
Width here still needs to be adjusted. This is where I want
that leg so I wanna build all of this to work together.
That's the idea. The rhythm, this pose needs to flow right down
through the canvas. So first thing tomorrow is I'm gonna go into that head,
work on that, and try to make everything work a little bit better
together. I think that was someone's campaign slogan.
Better together. Anyway. I'll see you all in the morning.
I have some adjustments to make. Yesterday
at the last minute I got the bright idea to totally shift the position of her head and
at the time I thought that was a great idea but I'm looking at it now and it really
wasn't the best idea. So what I'm gonna do today is bring
the head down a little bit and basically make the body a little bit smaller.
It's gonna be a lot of work but I'm gonna try to do it methodically and just make the
right corrections hopefully as I go just to give myself a good
basic structure. So I guess I'm gonna get
started now and I think that Emma's getting into position.
So I've got my same pallet laid out here and I'm gonna do a little drawing here.
And by drawing what I mean is
either working with the negative shapes to put things together or maybe scratching
with the brush handle a little bit. Whatever I need to do to fix my proportion.
As you can see I don't do a preparatory drawing with pencil.
And in some ways you know that could probably help
in some ways but I've just never worked that way and the key thing is
to be patient as you make your revisions. Alright.
Beautiful. Alright just turn your shoulders away from me a little
like that way. Is that okay with you?
alright I'm gonna start here. So the first thing I'm gonna do is try to
rethink the position of the head a little bit. Try to get it back to where I want it.
So I'm gonna make her shoulder a little smaller
I need to bring this down.
Very challenging but
both of these things have to come down a bit. This is coming down.
What I'm going to do is bring the chin down a little so the head is
really gonna be more in this location.
Let's see about that.
So this - this is what I'm doing here.
Let's see get my
trusty light color as well.
See what happens here.
So the chin I'm gonna move to about here.
It looks a little strange now - it will for a little while
until I get these shapes where I want them. But I do need this
space up here again. I don't know quite what I was thinking
with the movement I made of the head yesterday but that's
the way it goes sometimes. Sometimes you think you know what you're gonna do and you try
something and it doesn't work. The key thing is to be patient as you bring it back to where
you need it. Patience is not an unlimited
thing though. I think there's relaxation techniques
that I've tried to learn, just like evenly breathing
and kind of methodically changing the proportions, getting it back
where you want them. And that's really the key thing here. I just wanna
structure the head. This is the
front of her head.
You're doing a great job
Emma I really appreciate it through all my
complaining and ranting and revising things.
Sometimes I think the models get sick of my
always redoing things. That's the way it is.
I definitely complain. I'm good at complaining. It's a talent
that I have. Complaining.
I certainly do that. So I'm lowering
the nose. I'm calling it a nose but it's actually just a
blob of paint right now. Eventually it
should look like a nose. We'll see I guess.
So I need to lower this area here.
It's going to look weird for a minute. All my proportions are gonna be funky.
I had made that shoulder way too big and even this
whole arm got too big yesterday. I thought I was making the figure smaller
and I was not doing that.
So I'm gonna try to fix that up today. Let's see.
Blur this edge out a little.
It doesn't take
long if you make the right marks - the strange thing about painting, it doesn't
take a lot of detail to make something look right. Like you should be able -
in a painting like this I should be able to get the head to look good
without actually defining a lot of her features.
In other words the key thing
is to get the head the right size in the right position.
That's what I didn't do
last night but I'm gonna try to get that better
today. So the key thing is position and a proportion.
I have to keep telling myself that.
And I'm also just saying it out loud so that I
hold myself to that. Because if I don't I tend to get off
on these weird tangents and it's a reason why often when I'm painting
I paint better when I paint on student's paintings in class because I know
I can't mess up then because I'm working on somebody's painting so I can't just kind of
experiment and wing it as much so I pay more attention in that
case to, you know, basic proportions.
And basic proportions are always the most important thing.
And her eyebrows gonna be in there
Let's see here the back of the head. Ironically this is more
where I had the head in the beginning of the painting.
This whole arm is gonna get small.
And the back's gonna get smaller as well. Everything has to
get smaller. In other words the opposite of what I
was doing yesterday which is weird because I really was not
a hundred percent sure but fairly sure I was on the right track and it turned out that I was
not exactly there.
Use this same color in the head.
I think I'm gonna
start to render the head a bit too. I'm lowering all of it
this. We'll get into that in a moment.
I'm still using the same combination of blue and burnt
sienna. It's just such a good all around combination.
I have a different brand today because I almost ran out of my
cheapo Winton paint. So this is an M. Graham. It's a little
cheapo Winton paint. So this is an M. Graham. It's a little juicier than the Winton. Burnt sienna - the only thing I really
look for is that it's a warm tone.
So that's the main thing.
My favorite green color in her hair, I love
that color. Get back to that.
Let's see here.
I love this little shadow
under her chin. Get that in there.
How big this shoulder is is very important,
I generally want to make the figure a little smaller
I had it too big it really threw me off.
That's about where I want that.
I like that little bit of
you see the end of the collar bone and then there's the little roundness
of the end of the top of the deltoid right here. I like that shape.
So I wanna make sure I get that.
Arm is going to get smaller.
So this is gonna come up a little bit, which means the
hand is also gonna be let's see -
yeah maybe about
there or maybe not quite that high.
Back into the head. Just keep going.
And I need to get into that ear.
Really start doing that as well.
Use this brush maybe it's a little bit better size.
It's good to use a brush that corresponds to the size mark you're making.
I don't always do that but it's not good.
It's better to find the brush
that corresponds to the size shape you're painting.
There we go.
There's that green. Maybe I will use this for the
lighter part of that green. I just do wanna indicate it again.
Since I had taken it out or almost taken it out that is.
That's too yellow. It's a blue green
so I wanna hit the blue a little more. I wanna get that
nice quality that it has. It's not gonna be as bright as her hair but it'll -
it will read that way in the painting if I do it properly
Let's see here.
Yeah so her nose
is here. Cheekbone kinda comes out
and her eyebrow is coming out here.
Let's get that in.
I'm a little bit - I'm going a little cooler with the color, a little more
I should say bluer, not necessarily cooler but more
specific. You wanna find a specific color you're going for.
Bluer in her temple area.
Redder in her nose and maybe a little red in the cheek, eventually I'll get to that.
Let's see here.
Still making that head a little
How much I'm showing of her nose there I gotta get that.
Get that right.
Bring the eyebrow down a little more.
If I get this right it should look okay without any detail.
That's my goal anyway.
It might take a few tries here since I'm moving it but
at some point I'm just gonna start adding a little more
information in here. Let me get this shape. Alright.
Back of the ear's a little redder. It's okay
to use the same color in both of those areas.
And her neck
I'm gonna make a little thinner as well.
Just a bit.
Cheekbone comes up to there.
Still just a little lower.
Little lower the eyebrow.
So the top of the
head's gonna get smaller. That's what I