- Lesson Details
In this lesson, you will focus on establishing hierarchy and rendering the focal point in a figure painting. Instructor Joseph Todorovitch will demonstrate how to select areas of importance, in which he will focus on developing contrast, saturation, texture, sharp edges, or resolve.
This lesson belongs to the course From Paper to Canvas. In this 10-week course, internationally renowned artist Joseph Todorovitch teaches you his tonal approach to figure drawing, which is designed and tailored specifically for painters. In the first half of the course, you will learn to draw the figure while focusing on value masses, shape design, and edge quality in relation to the form. You will study a procedural approach that forces you to work simple, then gradually progresses to more complexity. The second half of the course will be devoted to applying this approach in oil painting. After analyzing the connection between the two mediums, you will be introduced to color mixing and color theory. This course will guide you through how to create drawings as preparatory studies for paintings, and provide you a fundamental understanding of figure painting.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
Hey everybody, so today what we're going to try to concentrate on is resolve.
I'm going to block things in pretty fast and then start to get to the areas that
are a little bit more highly refined.
And we're going to talk about how and why to choose those areas.
Soit should be interesting.
And so let's go ahead and dive in.
Transcription not available.
Well, depending on any glare here.
I'm using a new panel here that's
I think it's just an acrylic primed panel.
It's got a nice texture to the surface, which is actually really
smooth, but it looks very absorbent.
Which is typically not ideal.
So we'll see how it goes.
There's ways to overpower that.
Just means using more paint and
making sure that
you can see it's really - see, my wash doesn't go anywhere.
So it's really absorbing in there.
It might be fun.
I don't know.
It might be a good thing to do is try something different that gives
you trouble and figure out how to muscle through and understand, you
know, more and more I'm interested in
the surface quality of the painting and, you know, having the perfect surface isn't
necessarily always the most interesting.
So we'll see what we can do.
I'm always surprised when I see a really interesting painting
and I mean, look at the surface and it's just crude or whatever.
It's not, it's not ideal.
It makes me wonder why the painting still is working so well.
And so I kind question that.
I'm just going to kind of start here and play around with some compositional ideas.
About placement, about size, and get a feel for what's going
to make the best painting.
I'm working pretty small here.
It's like a 12 by 16.
And so I'm trying to think about ideas about, you know, the type of figure
we have here, and you can see I'm really crowding the space to enlarge
the figure and overwhelm the space.
And obviously that means that I'm going to sacrifice some information, but I need
to know what information is it that I'm
most interested in showcasing here.
And I just really liked this area of the torso part of the portrait.
This hand over here illuminated is really nice.
I'm not sure if I'm going to get that in, but it would be nice if it landed right
around here, we have essentially, the motif is we're getting light right here.
This pocket of light, all of this side, the right side
of this figure is in shadow.
And then we've got this illuminated side over here, which is nice.
So we've got volume turning this way.
We've got light illuminating the left side predominantly, and then
another area of light over here.
So we've got this kind of light, dark, light idea happening.
So that's how I'm going to think about the value system, modeling
the values from left to right.
Getting this big barrel shape to really have form, here's another big
barrel shape of the leg, obviously.
And just a nice strong shadow pattern to the portrait here.
You can see I've cropped a little bit up here, which would be okay.
As long as the brow is represented in there I think we'll have a nice
dynamic - nice dynamic composition where the figure just kind of predominates
the space and we can focus on that form.
And we can use that nice new background color, just to kind of accentuate, just
kind set off the warm the warm flesh tone
should be a nice contrast.
Yeah, I think this might work out.
So if I, this was all by feel.
So at this point, just, I'm going to try to remember that only gets
you so far and it's really time to establish something concrete.
And I'm always going to start to look at right here at the top of the sternum here.
I'm trying to visualize how much information is on.
Either side of the center line.
If the center line is deviating, I don't know if you can see, but we're
seeing less of the lower torso here.
More - that means the lower torso is turned more away slightly.
Then the upper torso there's kind a twist happening there.
It's subtle, but that's what makes a good painting is being able to
articulate subtlety within the masses and not just copy the surface.
We want to articulate that subtle twist.
And then we want to copy or represent the forms on top of
those masses appropriately.
So I'm just looking at these large shapes as symmetrical shapes,
fitting on top of a barrel.
I'm seeing much more of this pectoralis shape here than I am this one, but
they are basically symmetrical and in perspective, we're seeing less of
this as it's getting for shortened.
I'm just thinking about that.
Certainly want to acknowledge next where the rib cage is
identifiable here at the surface.
Right here we're seeing a bit of that, pretty low, coming up and over.
And then you can see the rib cage really creating a very
specific contour over here.
So I'm almost essentially, I'm almost starting with the rib
cage in this particular drawing.
I think that's mostly because I want to showcase the shoulders, the lower
torso, try to get this hand in there.
So I'm trying to articulate the second and third mass.
I think the head will be just fine if I know where this is, and I know
where the chin is going to wind up, I can get enough information there.
I think I'll be just fine.
So I can work my way up from the top of the rib cage by using a
cylinder that fits right in and in accordance with the center line here,
you can see the cylindrical nature.
Of the neck fitting in.
Nice width to it
And then I'm looking at the distance of the chin in
relationship to the center line.
You notice how I keep going right back to the center line and the pit
of the neck to really start to make some clear decisions about placement.
That's just always a really safe way to do business.
Here for the intersection of the deltoid, as it fits in front of the
pectoralis and lines up with the clavicle here, it's a very simple
representation of this fitting together.
Notice right here the neck line as it goes in, and that we're
starting to see the trapezius here.
Do you notice this rhythm of the neck line going all the way through the deltoid
Okay into that intersection of the pectoralis, we need to pick up on that.
There's a particular degree of strain there cause his right elbow is going back.
So there's something going on there and we're trying to pick up on the action.
So same thing over here.
If we're seeing this kind of spill in to the pectoralis on this
side, it's really important rhythm
to pick up on the shore.
Otherwise our shoulder could look really detached or, you know, there's no - one
of the more common things I see is a detachment of the shoulder from the rib
cage and the clavicle and kind of, you know, the lack of connectivity between
how much information is there and how all this stuff is fitting together.
It's very challenging because you know, the rib cage is largely concealed up, up
in, you know, underneath all that stuff.
So it's a challenging area to account for, but we're going to try.
And by picking up on those rhythms, the way those forms are intersecting, that's
our best bet or the best place to start.
Straighten that out, you know, going straight across here from one
area of the thoracic opening to the other past the center line can be
helpful just to create a sense of perspective, creates a boxy quality.
Also forces me to really determine where the center line is.
And when I put something down here immediately
I question, where is it in relationship to the face?
And so I need to check that it's out pretty far.
So it's out about here.
Very important information.
That's very easy to determine.
So we just want to, you know, really, I mean, I have a lot of freedom here.
You can see it's very loose, very sketchy, but as I start to put more and
more information down that information becomes a little more concrete because
I'm able to make more and more comparisons to the information that's accumulating
and how it all relates to one another.
This shoulder seems to be lower.
So I'm going to lower that.
I'm going to lower this.
I'm going to lower this.
And if, you know, sometimes we get a little bit lost.
So you can accentuate a line a little bit darker, a little bit heavier if you need
to make, if you need to make a very clear statement about where something is placed
versus where you first started looking.
Looking for the break in the elbow.
And I can look for the mass of the arm, try to use this negative
space here, this triangle.
So I'm looking for some important landmarks.
I have the corner of the rib, have the abdominals here, something happening,
and then I have that leg extending out.
And now I have a, I have an information or a perimeter to a shape can start to infer.
A little bit more the placement of that arm and the distance
down here that placement
somewhere around there
for that navel.
Start divvying up this area of the abdominals and a strong fold here,
another one sitting right on top of the corner of the pelvis view.
If you notice there's a little bit of a dip right here, and a little bit
of a deviation, that means, I mean, that's where the pelvis is pushing up.
I'm getting this soft form of the hip flexor or the tensor fascia.
This kind of soft form there.
So here, and then I'm looking for this kind of triangular area.
Notice I'm circling the cylinder of the leg down here, not up here.
I want to create a clarity that there's a space here, a little
bit of a space where the leg actually begins a little bit lower.
This is all transitional from the top of the pelvis down to the, this starting
on the cylinder or the, essentially the top of the rectus femoris idea.
We can just let that fall off.
So we've got this nice torso here, kind of predominating.
I still have some leeway to adjust if necessary.
I can tell that if I look at the negative space here - we're going
to give the model a break, I think.
And that handle fit okay, comfortable here.
I can tell, I can get a little bit of the portrait here and I can
concentrate, possibly getting a little bit of light in this area.
A little bit of light in this lower corner, majority of light
on this side, and then majority of shadow on this side of the torso.
So have a nice light, dark, light thing going on.
And that's really important to understand that from the beginning, because you can
think that the placement of the figure is important, but if when you place the
light and shadow pattern on the figure in it's unbalanced, compositionally,
you're going to have a weak composition.
So if something crops awkwardly, but there's a nice
arrangement of light and darks.
I think that's going to be favorable or I should say ultimately the arrangement of
light and dark should be very favorable and should have a nice balance, have
a nice motif within the picture plane.
So I have this kind of light green, left side, dark and illuminated.
Right side shadow.
And then all that dark over here can kind of frame this last little
area receiving light as it falls off a little lower in value.
So we have a strength to it and we have a fall off here.
That's going to be the - that's going to be that kind of that light motif.
And I think that's what I'm going to try to capitalize on.
So I'm not really considering the color too much yet.
I'm just considering the value at this point.
In fact, I'm getting a glare.
I can barely see the color.
I know it's really dark and I know it's pretty warm.
So I'm using black and transparent oxide red for the most part.
I just want to get a strong
And then I, and then I just kind of want to judge the drawing
based on a simple, graphic design.
I find that when I get values blocked in like this it's a little easier to
determine whether the drawing is placed well or not, whether my shapes are okay,
whether my proportion is working okay.
So I know that - so as I go down right here directly from, let's just
say that this is where that belongs and say go directly down, I run
into this small shape here, so I can feel pretty comfortable about the
placement of a simple triangle here.
I'm over-simplifying just to show the nature of the way I'm interpreting things.
Very geometric, very simple at this stage.
I am not saying that I do that all the time and that I'm not,
you know, sometimes I'll definitely think about a more complex shape, but I just
want to - I just want to kind of provide an approach that is very very simple.
And even though I might create a little bit more complex shapes during
some paintings, they will start out mentally as very simple shapes.
So I'm not.
I mean, just a good way to kind of wrap
wrap my mind around the average, massive, any particular shape
that I'm trying to represent.
For example, as a place to, I notice here, I was about to place the or the edge
here, the back, and I noticed that it has a very specific geometric relationship
to this triangle, the simple triangle.
So I'm just seeing it, you know, this edge and the shadow mass direct
my eye right to that triangle.
You know, so I mean little things like that are a really solid footsteps
to creating something more complex.
It's been a long time-tested concept that generally we just start from A
to B average and group everything from A to B and tried to grow, get a most
simplest, distilled shape as possible.
Then we can add C into that shape that this allows us to
understand the relationship.
If I get this average mass, right from here to here, compare it to the
head, compare it to the leg, compare to the shadow mass on the torso.
It's easier to deal with.
It's easier to make those kinds of comparisons when the design
isn't over saturated with literal, anatomical nuance and variation.
Now, when I put these shadow messes in here, I'm losing my center line, but I'm
very conscious of where the perimeter, where this - see it might look messy
at first but when I start to do this is a very conscious choice about where
the light stops and where the shadow begins in relationship to the center
line, which is inside the shadow mass.
For example on this edge of the perimeter of the dark shape over here, where the
dark meets the light, this edge has jumped the center line, which is in here and
is extending a little bit farther out.
That might seem obvious but a lot of times we put some construction lines
down and then we start putting our shadow mass down and we don't relate the shadow
mass necessarily to its position in relationship to the construction line.
We just kind of place it on the center line because the center line's there,
and that must be where the shadow is.
Well, that's not necessarily the case in this case right here, the
center line is slightly getting consumed by the shadow mass.
And so my - the edge or perimeter of that shadow mass is surpassing the center
line and in consuming it to some degree.
I'm right to here.
I'm going to go down here
and then catch up with this crease that I've established here.
Try to be very geometric at first.
Back down right here.
I'm seeing that a little bit of this triangular shape is starting
to receive a little bit of light and that the true shadow.
See, I can see some darks in here and I can see some local
color that's relatively dark.
I'm ignoring the local color completely.
And what I'm looking for is absolute shadow.
So I'm squinting to identify only what's absolute in terms of shadow.
And I'm just gonna, I'm just dealing with that at this point.
Everything else I'm gonna just
ignore for now.
I just want to point out that I'm completely aware that this isn't a flashy,
you know, poetic way of doing things.
This is all pragmatic.
This is what I'm thinking about when I'm doing things.
This is the underlying principle about my design sensibility and
about what I consider the most important elements to keep organized.
If I start splashing paint around it kind of, I mean, it shows you know, it
shows a different way to paint loose and then to bring it together, which is fine.
But I know that sometimes that can be challenging if you're not comfortable
letting loose so we can - so I don't know, that's just kind of
how I'm going about this for now.
We can easily play around with
looser paint application.
And when we get a little bit further along.
I would say that it's far more valuable to be able to design really clearly and
effectively than it is to fling paint, because that would become - now that'll
become a real gimmick or a crutch really fast and something that can achieve maybe
some pleasing visual qualities to some degree early on, but then after awhile,
when it comes down to getting some really.
Important drawing solutions figured out it's important to have our skillset
developed our ability to design our ability to interpret our ability
to analyze what we're looking at.
Make cohesive decisions that are logic in relationship to form,
the anatomy, and the light.
I would argue that's what is most important,
you know, early on spending our time
So I gotta be careful.
I'm going to block in some of this dark fabric here, but I'm using
a dark value, but I'm very aware that this dark value is just value.
It doesn't represent shadow.
And that's, it's important to understand because certain areas of this fabric
are receiving a direct hit from a light source in that light source is going
to affect the color right now, the paint on my palette and on my brush is
relatively warm, but the light areas of this dark fabric are going to need a
cooler treatment, a more representative temperature for the light source
that's striking it.
Down here could, it could afford to use this nice deep, rich value
that's a - it's a little bit warmer, even though it's harder to discern.
The fact is it's very dark and it's - I'm going to use a little
bit of a warmer tone to represent the shadow of the value that fabric.
So let's see here.
All the way down to about here.
So I'm gonna try to determine the value, color that background, and
with a few simple colors, just a set of primaries, essentially as usual.
She first, most, most concerned with the fact that the value is light enough.
Obviously the color hue is green, got a lot of white in there cooling
that green off, got a lot of viridian and alizarin cooling that green off.
And I put some yellow in there to complete that series of primaries in order to make
sure that green isn't too darn saturated.
It is pretty saturated to some degree, but I'm planning on introducing these colors
into the flesh tone, these three primaries into the flesh tone so that there's
some harmony there, so that there's some connectivity between the background
between the figure and the environment
I want these things to have the same colors use to build them so that we have
- so that our background doesn't feel like it's just a cut out and placed on there.
I want the same colors to be sensed in the figure as are used in the
background, even though the background is that much different than our
figure or color of our figure.
So I have to determine whether or not I want to put any of these dark values
in here for the sake of the design.
I might edit this dark value out here and start to just taper off the value
from here over to get a little bit - a little bit of that fall off happening.
I find that when the - when the figure is the predominant graphic element that I
want to kind of showcase, adding stripes in the background kind of breaks that
graphic element up a little bit, and I'm not sure that I want to be doing that.
I'm not sure that's going to add to the interest of the shapes, the
clarity of the design and ultimately to the strength of the painting.
So I'm perfectly happy living without that.
We're going to give him a break while I keep filling this in.
Just thinking in terms of three relative values.
I'm kind in a halftone range down here.
It's a little bit of light here the shadows cast, so right
about here is where it stops.
I can start thinking about a shadow pattern range of value for where this
background, when I do that, I'm going to also not just think of darker
value, but I'm going to think of
an alteration in the temperature.
So my mixture might have more yellow in it
because I'm going with a cool light warm shadow situation here.
And that value got warmer, but not necessarily dark enough.
So I'm going to use that viridian and that green to really push that value darker.
I'm going to do it in a clean area here on the palette, that dark, the dark value
of those two colors are giving me what I'm looking for in terms of value, but they're
also creating a theoretical purple.
If I add my third color, that should warm that up.
And if I add just a little bit, it'll warm it up without changing the value too much.
Give me a nice warm gray to work with there.
I still have the - still have to tune that.
I mean, there's this mixture here can vary a lot, depending
upon the ratio that's introduced.
I need to put something down that I feel is warm enough, but still is
appropriate for that fabric because it can start to change and get
completely out of tune with that fabric.
This is about right, right about here.
Still feels like a darker version of that fabric, but certainly warmer
mathematically in terms of the mixture.
Sometimes I'll go a little bit more - a little bit more transparent
as well, just to disperse that.
Let those light passages accumulate more paint and have a little bit more density,
which can add to that sense of illumination a little bit better.
Let these darker passages be a little bit more transparent.
Sometimes I like to at least around either side of the figure in that lighter
area with really thick paint and try to represent it that the background is.
Completely independent and different from the figure.
So even if you scoop up paint and pull away from the figure, it's a
nice way to imply that things are
moving behind - there's a current moving behind the figure,
which I'll elaborate on after.
Just want to set that up.
So I've massed in that background, I've represented a little bit of that
shadow mass here, you'll see that the, this is really bright and light.
There's a, this half tone.
And then there's the shadow.
The half tone's a little cooler, only out of default.
In fact, I use this, this really bright mixture here.
It had a lot of all three colors, but predominantly made it a green,
had a little bit of yellow in it.
And then I came over to the shadow mass and I tried to heat it up.
As I got darker, put a lot of trying to make it really warm.
And then this half tone is, is a little bit cooler, which is not a bad way to go.
You can see in the shadow mass right around here, there's a
lot of bluish kind of quality.
You can see, you can detect where the cool things are happening
on a, you know, up there.
And they're, the true shadow mass, I know it looks fuzzy along here, but
that true shadow mass I'm representing as a warm, as a warmer tone.
And then I'm saying like up here where the head is casting a shadow and it's
largely a transitional, I'm seeing that's getting cooler as it create.
So I'm making a distinction.
I mean, that's how I'm interpreting it.
That's the distinction I'm choosing and that's the motif I'm going to stick with.
And I'm likely going to do that throughout the entire
painting, just to be consistent.
Consistency is really important and is a very helpful unifying factor
and something that I do constantly.
I mean, even if it's imperceivable, it's - when you have things working
consistently it's - the dots start to connect for the visual experience.
Things start to have a sensibility about them.
Okay, so I'm going to block in - I'm going to start blocking me in a
nice average here for the lights.
Think we can safely use those same three colors, maybe a hint of vermilion
in there I'm sensing, but I mean, you start right here and it's all there.
There's no need to complicate things just for some noble idea of using
a lot of your color on the palette.
What's important is keying the thing well, and being able to have a good
workflow and not being confused about, wait, how did I mix that?
You're using three colors.
Your workflow speeds up dramatically.
And your ability to create harmonious paintings also speeds up dramatically.
Working on - sorry.
I'm working on a new painting at home.
Maybe I can share it.
Does not look like a primary color painting at whatsoever.
I mean, it looks like it has dramatic color all over the place, but I picked
the right three colors to do the painting and I stuck with that and I was able to
I was able to do the thing pretty easily.
And give the impression that it's colorful.
This is for a, you know, a gallery painting and I started the
painting off and it's so colorful in nature that I began using a lot of
color and, you know, going all over the place and trying to find it.
And then what happened was it started to get muddy in the first 20 minutes,
the first session, the first setting.
And I recognize that immediately.
And I said, wait a minute, I need to wait, pick the three colors that are
going to be most appropriate for this painting and stick with those to do
the entire portrait, at least for this session, because that's what I was
concentrating on was the portrait first.
And so as soon as I did that, it fell right into place.
I could concentrate on my drawing.
I can concentrate and the color - the color was tremendously more beautiful,
cohesive and connected than I ever could have wanted had I kept going on
using every single color on the palette.
And so it was it was a great, you know, reinforcement of the idea that,
you know, we don't have to use, you know, overabundant amount of
colors to make something colorful.
What we're trying to do is create a harmony that's unified, that has
variation, and that works powerfully and yes I'm not gonna, probably going
to use more color in the painting, but I'm talking about painting the
flesh tones and painting majority of the meat and potatoes of the figure
are done in those three colors.
The, you know, the essentials of the painting are done with those three colors.
And then I can deviate a little bit if I need to for some extremities.
And it won't overwhelm.
It's not arbitrary.
I'm not just arbitrarily using a bunch of different things.
So this is the basic idea here.
I'm just, you know, massing in those lights and darks.
I mean, this is the thinking.
So I'm trying to get this all working together.
Now I'm gonna, I'm going to stop.
I'm going to stop working in this mode where I'm just oversimplifying and I'm
going to start to paint a little bit more
the half tones in the in-between stuff, just for the sake of seeing that you
know, I'm not trying to propose that this is the way we paint because I know
it's not extraordinarily exciting, but I do just need to make sure that we're
on the same page and that we know that these, these are the things and the way
of design that we need to be aware of
when we start going for more intricacy or start turning the
form or start modeling the form.
Because now we're going to have to introduce half tones, lighter values
and some of the kind of nuance of the way things fit together.
This geometry only goes so far, right?
So I'm gonna start to introduce some half tones here.
I'm gonna start to tune this color, right?
In this particular area, I'm doing this only to the point of
setting up an area I can work on.
So I don't need to do block in the whole thing when I know that, you know, for
example, tomorrow, this is going to dry and meanwhile, I can spend the rest of my
day, all day here, just resolving this.
So tomorrow when I'm done resolving this, I can continue this painting.
This is theoretical.
Tomorrow I don't need to block this in.
I'll just block it in tomorrow when I'm ready and then work on this area and seam
it together with what's already finished.
But while I have this finished it behooves me to utilize this.
Everything is covered here.
So it behooves me to slow down and start to work more
deliberately to tune that area.
And to more carefully painted and resolve it and try to, you know,
represent it faithfully here.
So while I have this all working is the exciting part.
This is all wet.
It's going to stay wet and I can use that, that open window
to paint this directly and to model the form and to go for the
subtleties and the intricacies.
I'm starting to see some, since this half tone here, that's a
little bit greener in nature.
So I'm using the same color.
I'm just going to go in there and start to - that's the thing about a key is if
this is, if I represented the background, the light and the dark is keyed properly.
And then I go for something subtle, like something that feels green or here.
Well that - if I'm, if I use this mixture to create a half tone, that's
darker than the light, lighter than the dark, and that has a temperature,
hue characteristic of green.
That's going to be the appropriate color for that area.
And so that's what we're trying to do is understand the big relationships
of the figure and the background in about four major key notes
or color notes and value notes.
And then after we do that, when we look for subtlety, the idea
is that the subtlety falls right into place because we're painting
that subtlety in relationship to something that's already established,
that we've determined is accurate.
So I just want to make that very clear that this might not be the
exact color of his arm in Photoshop.
If you were to tile them out and pick up a swatch, but I'm saying
that this is the exact value and temperature in relationship to what
I've determined are the average light value and what I've determined
is the average background value.
So what's important to note is that we're painting the accurate relationships.
That's what we're doing.
We're trying to establish the accurate relationships of the painting
of the environment as a whole.
So we're trying to get the environment as a whole working in terms of
relationships of values and temperatures and to interpret what we're seeing.
So as I start to consume that triangle what's happening is I'm trying to roll
from the light into that triangle.
So I'm trying to create softer kind of you know, transitional patterns.
Or transitional incremental kind of mixtures that are softening the
transition from left to right, right.
But I, but that that doesn't mean that I am allowed to forget my initial
choice, because for example, if I start to start soften it and then it gets
consumed, I need to reestablish that.
So I can go back in.
I want to stick with the same three colors.
I can start to go back in and re-establish that shape.
Maybe even, maybe even accentuate the temperature a little bit
more, maybe tune the temperature.
Remember that shape was just a dark value that I had chosen initially, it wasn't
an actual temperature choice that there was any of any perfect significant.
So I can start to go back and maybe add a little bit more
warmth to that shadow shape.
So I can open it back up a little bit larger if I need to.
I'm certainly adding a lot more pure version of and little bit warmer
orange here, trying to roll it all the way to the top of the deltoid here.
And I'm just going to stay here and really just finesse this relationship
of values because the painting is set up for it, the painting is ready for some
area of emphasis, some area of focus.
Some area to be determined as important or as showcased.
So all this business of me blasting through this, just to try to, you
know, demonstrate what, you know, what we're thinking is ultimately just
to get to a place where we can slow down and, you know, paint that, those
sensitive things that make a painting
interesting, subtle, and rich in complexity.
So now now I'm really trying to, you know, paint what I see.
I'm Painting observationally.
I'm no longer trying to, you know use an over-simplification, trying to use my
observation to subtley shift the colors, the temperatures, but still you can see
my initial idea of values is in place and I'm using just three colors in order
to do the rendering essentially.
And there's a lot to be done here.
This is not something that, you know, if we, if you just, you know, can we get it?
We say what it is, this is how we do it.
Then all of a sudden it just comes together.
This is something that takes great care, takes that kind
of attention to nuance and.
That kind of finesse and that really that personal touch that, that
you want to put into your work.
So this area, for example, is not - I mean it's very, very, very complex
in edges and design and so forth.
So I'm going to slow down and try to design it a little more carefully.
First, I'm going to, I'm going to represent a little bit of
an under plane and a half tone underneath the pectoralis here
first as a simple move, I'm going to represent that cool undertone there.
It's a little bit, it's a little bit cooler.
It's kind of, it's kind of green in terms of the hue.
If the light is hitting on the top of the pectoralis, it should
have a softer, transitional rolling quality as it turns under.
And then I remember right now I have a little bit of exposed panel here.
I remember a few things like this is not exposed.
There's a, it's not razor sharp right here, so I can go ahead and try to
soften that, that connection here.
This is the intersection of the deltoid hitting the pectoralis.
So if it's an intersection, it's not a rolling form, so I'm not going to lose the
sharp nature of that design completely.
But I'm going to, I'm just going to soften it a little bit, so that
it's a little bit more organic.
When I first started on the light side of it, then I'll probably
go on the dark side of it and
create a little bit of a transition from that edge over, just slightly
soften this into maybe a firm edge set of a razor sharp edge.
Maybe this is categorized as a firm edge.
We typically have - we can categorize the edges into four types where we have razor
sharp, maybe like that one's razor sharp.
Maybe we have firm where maybe we have, that's what I'm doing
now where this is a from edge.
And then we have soft edges, right?
Maybe this transition from light to have tone is a soft transition.
This is an edge.
This is a darker value.
That's a lighter value.
This is an edge in between them.
That can be categorized as a softer edge.
And then we have lost edges where they're in perceivable and they just, fall off.
I don't have any lost edges I would argue at this stage of the painting yet.
So maybe I should introduce a lost edge in there, or look for an
opportunity to create a lost stage.
So I'm going to soften this edge
one more, one more degree, try it again, a little bit more
of a softer transitional role.
And then I'm going to - I'm going to cover that under drawing there.
We can't have any of that stuff exposed.
If we really want to get into the business of painting, we have to get
in the business of painting edge to edge and then manipulating the edge
with specificity, not just painting edge to edge and then stop, that's it,
you know, we have to paint edge to edge and then articulate the edge accordingly.
So I have to deal with that edge and that's where we get the, I mean,
there's a lot of opportunity for exploration and for, you know, creating
a sense of atmosphere, creating a sense of great form and turn.
The edge is where the real painting happens.
I mean, being able to manipulate those edges is really important and
an excellent tool to create a lot of different qualities in a painting.
So right now I'm just painting edge to edge and then we can, I can manipulate
it a little bit further, for example, maybe the under plane of the deltoid,
as it comes from here to here.
Maybe I want a little bit of a sharp edge here.
Maybe I want, as it turns under, I want this to be a softer edge.
Now it's already a little bit softer because the values are so close together,
but if you really want that to, you know, you can really kind of lose this edge.
I'm going to try to make a mixture.
I'm actually trying to mix off the hip here, the value that's exactly between
that and the flesh tone and lay that down.
And the reason I'm doing it this way is because this canvas is so
damn absorbent that I can't just swipe the brush across and get a lot
of - a lot of behavior out of it.
So I'm going to mix this first and lay it down, and this is a great
skill to have and something that needs to be exercised, knowing how to
mix an incremental stroke in between something so that it appears lost.
That was a mixed stroke.
And now it now goes away.
I'm not saying it's perfect.
I'm just saying it's an idea.
The next one I want to do is I like that dark edge there.
But it's too harsh as it jumps from that dark to that light.
So what I'm going to try to do is from that sharp edge to the right, I want it to
roll towards the light a little bit more.
So I'm going to make something kind of warm in between and try to roll in
a little bit more so that it doesn't appear as a line, but it appears as a
form that's - or a transition that's rolling away from the highlight.
So I'm going to soften from left to right.
Try to create a little bit more of
and idea here.
Kind of got consumed a little bit, but that's okay.
Even that little notch of a sharpness, is it functions as a decisive move.
So I'm just trying to show the kind of craziness that I particularly really
want to get to as opposed to just blocking things in and kind of staying
at that stage of the painting, where we're just focusing on, you know, getting
the values right and all that stuff.
This is where the fun part happens
or the, you know, the ability to kind of take the painting to a higher degree.
So I'm going to use a little more oil and the darks to get a little bit more
of a richer, glossier quality here.
The darks start to - if they look matte like this, then we were - we don't
get to take advantage of that dark, that deep, rich value that we need.
And so, you know, we kind of, we, you know, we kind of want those darks to
have a glossy, rich quality to them to achieve that value that we're looking for.
Just adds to the depth of the painting and helps those shadows recede,
some really loading.
Loading the brush at the bunch of that.
And one key thing about what I'm doing here tonight is I'm
just working in this area.
I'm not getting hasty and I'm not going to start migrating around at this point.
You know, there's different purposes for painting.
The first stage of this painting, the purpose was to kind of get
things established and judge the values and get something down.
The purpose of what I'm doing now is to - is to resolve.
To get something that frankly, that to motivate me to keep going.
If I just have a block in it's just not the exciting part of the painting for
me, I want to get into the intricacies of the surface, of the paint quality
of those interesting nuances that make a painting really finished,
that challenge me to do, you know, something that is excellent.
So going for the, this subtle, warm, reflected light here, for example, to
just say it's the relationship of this color in the right place placed right with
the right edges striking the right chord so to speak is what I'm after I want.
I want it to have a series of those things happening in this area of
the shoulder that clarify to the viewer that this is what I'm after.
I'm after a super high resolve eventually.
Meaning, even if the painting does not get finished that that has a really
dynamic - that's a dynamic statement.
And that's why we like some of those unfinished studies so much, because we
can see where it's going very clearly.
We don't need the whole story.
Sometimes we just need clues as to what's going on and then our mind
fills in the blanks and it, and that can be can be pretty satisfying.
Other than that, the other thought behind it is this is an exercise
and the exercise is -the purpose for the exercise is two things.
One is convey information, right?
First and foremost, I'm here to convey information about painting.
So I need to do that in a way that's organized and helpful, and it's,
you know, tangible.
So that part is, you know deals with the pragmatic approach in the beginning.
Now I want to share what's going on with the introduction of subtlety
and resolve and the shifting of gears, so to speak from being pragmatic
early on to establish the overall components, to the gear of whining
down, slowing down and being patient and articulating something with
I dunno, gracefulness or poetry or whatever is what I would say.
Someone's only going to care about your painting as much as you do and as much
as you are able to show how much you care about what it is you're doing.
So that means,
that means demonstrating visually
that you care about what you're doing.
It's craftsmanship, right?
It's pretty simple.
We recognize good craftsmanship in furniture.
We recognize it in, you know, just about anything so we can
certainly recognize it in art.
So now we have to slow it down and try to build some of that craftsmanship
into this painting instead of
moving around too much, all over the place and without any
clear goals here.
So I'm getting a little bit of glare.
I'm trying to make some decisions about these tones here, but the brushstrokes
are getting some glare, which is making it hard to see and to judge.
So what I'll do is I'll put them down.
Trying to put them down incrementally, how I'm doing, and then sometimes you can take
a soft brush and in the direction that the form is rolling, I can in this way, I
can go with, can knock down the ridges of the brushstroke a little bit and hopefully
see the temperature a little bit more clearly the ridges or the brushstroke
are catching some light from the
- from the light above my workstation here.
So if you're seeing reflection on the brushstroke and you're not judging
the value right, then it's not - the painting isn't going to function right.
Your brush stroke isn't going to be working properly.
And so that's a real big consideration.
So I want to knock that down until I can judge it better, then go from there.
So now that I'm relatively familiar okay with the big setup and obviously
I'm kind of moving on to some of the subtlety is I can just kind of respond
to what I'm seeing within each of these shapes within the light shape.
For example, I can respond to some of the temperature shifts and
variations, or even the value shifts.
I'm seeing a little bit of slightly darker values here.
I'm sensing a little bit of warmth there.
Or at least some kind of color or hue shift, and I can just work
observationally and introduce that variation within that light shape
and add to the richness of the area.
And it's basically suggesting nuance.
The surface is starting to the surface is actually starting to get dry because
of the absorption of the acrylic,
Which is okay, I'm just going to keep over-powering it with more paint.
That just means more, more mixing paint, more application of paint.
All those repetitions are good for us anyway so.
I'm also going to be using a little bit more of the oil as
they go to kind of make sure that
- make sure the paint flows a little bit more.
So half tone here.
So this is my dark shape.
Here's my light shape.
The half tone is all encompassing around here.
I mean, it's really kind of this entire area right about this far out.
So I went to mix up this kind of rosier color here.
It belongs to the light.
The half tone is not part of the shadow.
You can see though that I can vary the temperature or the value
as I get as I move my way over.
And it's definitely darker than the light, but it's still a part of the
light mass, even though it starts to fall off pretty dramatically over
here and get up pretty darn dark.
That's what - that's just a good reason that to understand that this is why I made
that choice is because now I'm going to go in here and almost lose that edge with the
value that some might perceive as shadow.
Like this is not shadow value here.
It's important to understand that.
And sometimes it's difficult to tell.
I've allocated this to the light, therefore, when I put it in there, I'm
still staying within the light mass, this long, this edge, it's going to
start to get pretty dark right before it drops off into shadow as well.
And, but that doesn't mean I'm going to forget about my initial
choice or change my initial choice.
It just means that.
Keeping that, keeping that in mind so I can put that dark half tone there
and then work my way towards the light a little bit lighter incrementally.
And then we get that nice gradual roll off in the values.
And then everything beyond that is, is allocated to the shadows.
So it starts to appear more organic and more natural because the light logic
is starting to have more of a, more of what we're actually seeing, which
is areas where it's difficult to tell whether or not we're working in a shadow
area or we're working in a light area.
That's just the nature of the complexity of the way light falls across the form.
It's not - it's not always extremely
It's very complicated.
It can be very complex, very ambiguous.
How those shapes are designed, how they're formed.
Which is a good thing.
That's how we get fall off here.
That's how we get that sense of falling off and then eventually completely,
completely lost out from the shadow.
It's interesting is since the paint is actually drying already I can
actually start to scumble on top of what's already there and that's
actually kind of interesting.
I used to hate scumbling so much now.
I kind of, I kind of embrace it.
Kind of have to, if I want to create a soft transition, I kind of
have to scumble the paint across.
The definition of scumbling is definitely when the pain is pretty
damn dry, like completely dry.
And then you're either, you're either dragging wet paint on top
of it, or you're scrubbing it in.
If you were trying to disperse it in, you know, create a very thin veil
of that, of that layer of paint on top of something that's already dry.
I kind of feel like I'm doing that in some of these areas,
just laying a very thin veil.
I, you know, I've always,, I learned how to paint mostly by doing direct
painting in an alla prima approach.
And I grew up hearing people say things like they want to put dryer in their paint
and stuff like that and not understanding why would anyone want to do that?
But I can understand it.
I think that adopting one way of painting just in an alla prima.
Approach is extremely limiting when you start to consider the amazing paintings
that are out there that are done in a more indirect manner, that we can never
achieve any other way than doing it indirectly, we couldn't achieve that doing
an alla prima direct painting approach.
And so my mind is, is definitely open to more things these days because when
you see an alla prima a painting, you can tell, you can kind of tell it's
done in one shot, the dimension of it.
And there's not, it's not bad if it's handled poetically and swiftly
it's actually really beautiful.
And you, for example, you can't just go to
you know, if you've ever been in like a great antique store and you know,
you can sense the years that it took for all that crap to accumulate.
And there's something really human about that accumulation of crap
that kind of speaks about time.
There's an investment there, there's a time factor associated
with that accumulation.
And same for paintings that have taken a long time that accumulate that kind of
surface patina or that buildup of stuff that can be really weighty in a painting.
It can have a lot of weight when you stand in front of it.
This was not a one shot deal.
This person put their whole, you know, put a lot into this.
So there's something about that, that, especially if the painting is ultimately
really good just at, you know, at first glance and universally understood
and, you know, universally just good.
There's something about that accumulation that's very profound and that you cannot
fake that, you know, so it just has to build up, it has to come to that kind
of a conclusion over a period of time.
And you know, some of the great paintings of the world are like that.
So I'm putting on some just a little bit of wash here, just to kind of
just disperse this out a little bit lower, just so it's a more gradative quality.
It'll feel quite a bit more finished if it doesn't just stop more abruptly like that.
So I'm really, I really try to not only gradate to the value, but grading the
resolve or yeah, the resolve the fall off kind of the resolve of the fall-off kind
of diminishes just the same as just the same as the light from this area focus or
from whatever area of focus that choose.
You just got to experiment.
When you're picking three colors for any given painting, you really
want, you really need to experiment and then also look for the light
source and the properties of the light source and how the properties
affect the shadows and so forth.
And that'll give you a good indication.
We've so far in here we've been using mostly, you know,
yellow ochre and alizarin.
And just that's been working just fine because of the light source.
There's nothing deficient about that.
You know what I mean?
It's important to understand that.
I mean, I know we're artists and we like to use a lot of color.
But if we're just beginning and learning how to organizing, we need to
stick to the business of understanding how to draw, how to organize well,
how to organize our fall off and how to achieve a beautiful relationship
of colors with a minimal palette.
It's an important skill that we need to have.
And then once we start adding colors, we're not doing it arbitrarily.
We're doing it from a place of understanding.
And I can't stress that enough.
I mean I remember seeing using the Zorn palette in school and
asking myself why can't I make a decent painting with this thing?
You know, when I know that I should be able to, you know, and you
know, I wasn't going to just go, well, the answer is more color.
The answer is not more color.
The answer is just more practice and more questions.
The answer to why I wasn't making decent paintings was just because I wasn't
understanding the capacity of the minimal palette and the range that it had.
I had to figure out, you know, exactly how to be efficient and create range
and understand the full potential of all of the mixtures that can be
achieved with that minimal palette.
You, I mean, we're talking about mixing mud here in very small proportions
in quantities, in different ratios.
The possibilities are staggering if you really start to think about it,
when you're talking about the term of exhausting the possibilities of using a
minimal palette or using three colors, that idea of exhausting, the possibilities
takes some time to experiment with and if you keep doing portraits,
you'll start to see how to organize color, how to use it resourcefully.
For example, if you can only make one really powerful red or one really
powerful orange, for example, and you can't use, you know, cadmium
orange and, you know, cad yellow deep, or whatever, you can only use
yellow ochre and alizarin crimson, for example, where you better be
resourceful about where you put it and you better - that means organizing
and understanding where the most powerful orange is or belongs in your
painting and how to make everything else subordinate to that orange.
Every other thing that resembles orange, what if you have
a field of orange flowers and you have to paint them with a minimal palette
or you need to decide about what about that field of orange flowers.
Where's the focal point?
Where's the highest saturation of orange going to be in what
small area, and then reduce the saturation of orange everywhere else
so that the painting has hierarchy.
And so that it has, you know, so that it has a sense of
focus and a sense of design.
Otherwise, what happens is what we tend to do is we see an orange, feel
the flowers, and we paint a whole damn orange, feel the flowers, the ones closest
to us, the ones far back towards the mountain range, just the same saturation
and there's no variation.
It's a flat shape of orange on the painting and it doesn't do anything.
It doesn't - it's not designed effectively to create distance
and space and to create focus.
So learning those things need to be done in a simple way that
is controlled and it's limited.
If you have too many possibilities, you're
it can be very challenging to, to do that and to be able to learn how to control
that, learn how to be resourceful, be efficient and use color effectively,
design it and all that kind of stuff.
I'm gonna go a little bit further here.
I'm just going to put a few more half tones.
What I'm trying to do at this point is not necessarily you know, anything
other than I'm just trying to gradate away from my focal point here.
And it's one of the things we're talking about.
So this is, has more softness to it.
I want to break up the shapes in the face a little bit more softly, create a
little bit more of an organic transition from light to dark an, you know, maybe
kind of finesse a few of the few in the shapes up here a little bit more.
And then and just to kind of match what I've done in the torso essentially.
Not in order to necessarily, I mean, this is not considered
detail, what I'm doing here.
I just want to make that clear.
This is you know, simply turning the form a little bit more.
Creating volume, a little bit more clarity in the volume of the portrait,
softening a few of the edges with a half tone and that's about it.
So the volumes in the portrait are a little bit more organic and
connected with the volumes that I've established in the torso.
It's about a connectivity, it's about a continuity and developing
the painting in a way that
has some kind of a hierarchy of logic to it.
I don't want to just to stop and then all of a sudden, just necessarily be all
you know, super geometric and not have a fluidity, you know, to and from that
early stage of the painting to the higher, more developed stage of the painting.
Even just a few notes of form here, just a few subtle notes here will kind of
convey a more satisfying resolve even at this kind of very preliminary stage
that it's a little bit more acceptable.
At some point, we need to slow down and change gears in our
painting and control development of further, further stages here.
What I was talking about in terms of when we start to slow down, change
gears get into these areas of resolve and finish the painting, so to
speak, or some of us consider it or
think of it as rendering or well, I don't know.
I'm not sure I'm kind of interested in this because I'm not sure what it is
considered, but that's the very point of what we need to do is understand what
we're doing and what we consider it.
So when I consider adding detail, what am I talking about?
Specifically for me, it's a clarity of form,
light and form, right in the big aspect throughout the entire painting.
And then, okay, let's say that's working.
Let's just say this is working in that way.
Then it comes down to more sensitive surface nuance in the
way things are fitting together a little bit more carefully and a
little bit more richness of form.
If you can see the, you know, the oblique starting to attach to the rib cage
here, it's a very very unique situation.
You can see this light intersection as the oblique is pulling from the rib cage.
This feels like bone, and this feels like muscle.
That's what we're trying to do is convey some very human quality here.
And the mechanics, or, you know, what's going on.
We were trying to convey that this is meat pulling from bone, for example, right.
That's not just, you know, adding detail.
So anyway, as we do that, there's a, you know, there's
different ways to think about it.
We can just kind of arbitrarily go after it, whatever we see and just
start, you know chipping away and, you know, painting more, you know,
for example, I'm working here, earlier
I was working here, you know, I jumped up to the face.
What I'm trying to show is that I'm doing it very consciously.
I'm trying to make a great idea of quality of resolve.
I'm trying to say that this is the most carefully crafted area.
And the face and this area are subordinate to the shoulders at this point.
So as I put, as I started to work my way down and introduce more detail,
I'm not just going to jump to the hand and just start going at it.
I'm not just going to jump to the knee or just arbitrarily jump anywhere.
Actually, it's really important that the development of detail, in my opinion,
okay, the development of detail corresponds to the way our eyes work,
which is as focusing instruments.
I'm saying that the viewer's eyes focused here in the
corresponding detail is peripheral.
I think that is a very wonderful tool, concept to consider.
It's not a rule.
It's - I won't even say that I do that all the time.
Actually, I probably will say that I do that all the time.
You know, for example, if I'm blocking in you know, a painting with three figures,
one of them is going to predominate the other corresponding figures are
going to be subordinate to that.
So as I'm blocking them in, even if it's just for placement and it's
largely just initial block in phase, I'm going to make sure that I'm not
going to get stuck rendering the faces of the second and third figure
just because I'm excited about it.
You know, even if they're the, you know, even if they're those figures are really
cool and exciting to render, you have to be clear, patient and have to understand
the hierarchy of things in my opinion.
So that's what today is kind of about.
It's about the further development of the painting with a conscious motivation
to create focus and hierarchy or however you want to term phrase it.
So I think it's a great tool and
I'm going to try to - try to end up in a place that when the painting is finished,
hopefully it has a visual hierarchy.
And not only that, not only does it have a visual hierarchy, but
there's hopefully a very clear series of events that make it absolutely
impossible to see it in any other way.
It'll be subtle.
And hopefully you know, it, won't, it, you know, the painting shouldn't be
disruptive, but I wanna, I wanna make sure that I'm using notes and cues,
and even clues to arrange these areas in focus and to make sure that the
predominant area of emphasis remains the predominant area of emphasis.
Well, how do we do that?
How do we pull the eye and hold the eye of the viewer?
We want to make sure that when we're standing far away at a distance, that
it has a very good posturized quality.
Very good graphic read.
Okay, well that's an important concept, but what about the graphic read in
the posterization of your painting, connotes or conveys a series, a sense
of hierarchy or order of importance?
There are very clear things that will do that.
And they're fundamental things.
They're not - they're not merely good guesses and contrast is one of them.
So when I say they're fundamental, I mean that you can trace it back
to a blank canvas and introduce it and then automatically create focus.
So it works on a fundamental level as well as an intricate painting.
So for example, contrast, as soon as you put something down on a white
piece of paper or canvas, you have created contrast and you have created
a fundamental component of emphasis.
So if you start that contrast on the corner of your canvas, you're going to
draw the eye to the corner of your canvas.
So contrast is a good way to pull the eye and hold the eye.
It may not be scientifically proven yet, okay.
But I'm going to stick with this.
I'm going to say - I'm going to go out on a limb and say that if you have a, if
you have a gray canvas in a note of red, one specific dot of red or brushstroke or
one action of a more intense saturation
the eye will gravitate and look for information there.
So saturation, edge value.
And I'm going to say texture, and I'm going to say yes, texture
fundamentally will draw our eye and promote investigation.
So there's some really new science about composition and whether or not it a line
- our eye follows a line through a painting.
There's no scientific evidence that proves that.
What we look for as humans is information.
We go like this and we go quick dah, dah, dah, dah, and you know there's
value, edge, saturation, texture.
Resolve,\ level of resolve is what we'll call it.
So as soon as you put one stroke down on a blank canvas, you have something else,
you have one degree of resolve more than anything else on the canvas.
So fundamentally it's a tool, it's one of these tools to, so, so in other words, I
should say, fundamentally our eye will go there and investigate for information.
So I'm gonna do one or two more things here real quick, because
I want to nail this point home.
So, so there's five things that we have.
We have contrast, we have texture, thicker paint, right?
Thicker paint or organically applied paint or uniquely applied paint.
We have saturation, higher degree of saturation.
I don't know if you guys can see that right there.
I put a note of saturation in there and then we have resolve.
Was that all of them?
Did I miss one?
Oh, and edge and sharp edge.
So sharper edges.
Now I'm pretty, I'm pretty convinced that those things promote
investigation in our viewer.
So, you know, I don't have scientific evidence to prove that, but I know that
if you do all of those things, if you put one stroke down on a blank canvas,
you've essentially changed the edge.
You've created an edge.
You've created saturation, you've created contrast and you've created
texture and you've created more detailed than anything else on the painting.
So if you think about this painting as you know, a blank canvas and you
think about my area of focus right here, being that one brush stroke,
hopefully you can see that I'm putting all of those things in this one area
to some degree and trying to promote the viewers investigation in this area.
And there you have it.
That's pretty much the gist of it.
And I think it's - I think it's pretty, pretty universal and I think it's really
helpful when you start thinking that way.
And also I think that it's important to note that it's a wonderful
series of things to keep in mind because it's very malleable.
We're talking about one dot, you know, one thing we're talking about blank
canvas fundamentally and all that stuff, but in a complex painting with a series
of things going on, I can, for example what I would argue is pull the eye
around from various areas of importance.
So the eye isn't going to stick around here that much, because
there's not much information here.
The eye is going to investigate here a little bit more because there's quite
a bit of information and it's very clearly organized that that's the case.
Also there's thicker paint in this area.
There's more saturation and more variation of color in this area.
So I give the viewer something to investigate.
Also, I have one note right here.
That's probably the most saturated note, albeit it's very small,
it's a little red note there.
That might be the highest saturated note, even more predominant than
this green, all of this green.
Well, look at that, all of this green balanced by that one little note, for
example, I can emphasize it even more or I could do something else and say,
well I'm not going to resolve the face up here, but I do want to - I'm going to
put a little strong note of saturation up there that same red or whatever, in
order to kind of connect the dots and to create an initial pull for attention
up here in terms of information.
And so now those dots are pretty powerful, but they don't nearly compete with
the amount of resolution I have here.
So it's a balancing act.
You see, so you can say, ah, I want the eye eventually drift down here.
So you can use maybe a very sharp edge and a very strong contrast in note there
and get the eye to travel here, but not stay there in relationship to this.
So you can constantly balance your painting, whether there's 50 people in it,
or one figure by continually emphasizing those things in your area importance here
and furthermore, you can do it very - I would argue you can do it very nuanced
by gradating to and from, by playing with all of these fundamental tools.
So I can put, you know, a variety of notes in here, like this, little
hint of even heightened saturation, you know, it's just a balancing act.
In other words, if his foot were down here, I can put some information.
I can resolve the heck out of the foot, but I can certainly make sure that the
viewer's gaze is concentrated up here.
Now the one scientific thing that I would say that kind of supports
this to some degree is the fact that our eyes are focusing instruments
and when they behold something, the radius of attention is quite small.
So when the radius of attention, when the eye focuses on a particular area and it's
quite small, it focuses quite literally creates contrast, acknowledges or is able
to receive higher saturation, is able to perceive textural variation, is able to
see more nuance and so on and so forth.
So there we are.
We talked about reasons and ways to control the experience of the viewer
to some degree, at least how they search for information and ways to
kind of resolve our areas of interest with an emphasis on the way we see.
A focusing idea.
So hopefully that's helpful.
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2. Drawing Lay-in19m 21s
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5. Modeling Form and Adding Details to the Focal Point25m 40s