- Lesson details
- Transcript
- References
- Instructor
- Charles Hu
- Subjects
- Painting
- Topics
- Anatomy, Composition, Design, Human Figure, Light & Color
- Mediums
- Oil Paints
- Duration
- 9h 41m 42s
- Series
- Introduction to Oil Painting for Beginners
Learn the fundamentals of oil painting with acclaimed artist and instructor Charles Hu.
This course breaks down the entire process of oil painting and is intended for beginning and experienced artists alike. Charles explains the important concepts of gesture, shape design, and composition. You will also learn what materials are needed, how to get set up, and the techniques used to apply paint.
After taking this course, you will be on your way to oil painting from life using a variety of different subjects and palettes.
In this lesson, all of the previous techniques culminate together while Charles demonstrates them on a multi-figure painting using live models and the full palette.
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AUTO SCROLL
Hey guys welcome back. So today we're gonna do something interesting.
This is actually we're gonna have two models, two figures models.
We're gonna sit them both on the stage, which
I have done this at a workshop that's over at Pasadena
Art Center and I thought was really interesting because it really helps you to get a sense of
designing your compositions so it's not just always a single figure
in front of this kinda plane drop but now you got two figures so there's
a sense of stories and also like I said it will help you to get
figure out how you want to compose in a most interesting way. So
we got two models here in today and
so what we're gonna do besides - we're actually using a full palette
and although the set up is more
on the earthy side so we're gonna try to push our colors.
Probably not gonna be a kinda French impressionist
colors. I'm still gonna base them
on what the set up that we have and if we see green I'll push, you know, a little more green,
red, push a little more red. So just, you know, push the big color. Maybe the
red drapes reflect to her shadow and I'll make her shadow a little
bit redder. So in that sense. So it's not gonna be like a colorful painting I did
of the like the full palette still life.
This is actually we're gonna have two models, two figures models.
We're gonna sit them both on the stage, which
I have done this at a workshop that's over at Pasadena
Art Center and I thought was really interesting because it really helps you to get a sense of
designing your compositions so it's not just always a single figure
in front of this kinda plane drop but now you got two figures so there's
a sense of stories and also like I said it will help you to get
figure out how you want to compose in a most interesting way. So
we got two models here in today and
so what we're gonna do besides - we're actually using a full palette
and although the set up is more
on the earthy side so we're gonna try to push our colors.
Probably not gonna be a kinda French impressionist
colors. I'm still gonna base them
on what the set up that we have and if we see green I'll push, you know, a little more green,
red, push a little more red. So just, you know, push the big color. Maybe the
red drapes reflect to her shadow and I'll make her shadow a little
bit redder. So in that sense. So it's not gonna be like a colorful painting I did
of the like the full palette still life.
AUTO SCROLL
Okay so first things first I need to figure out how I want to compose them
and I'm gonna -
let's tone the canvas first. Of
course I'm gonna tone somewhat a brown key and I want to keep
the tone not too dark because if it's too dark it ends up
hard for you to see the shadow value when you put your value down.
So what we have here, again,
the brown color I have, I have the burnt sienna. I might now -
well I might can use a little bit of burnt umber but it's kinda, it's opaque, I can probably just
use burnt sienna and a touch of black just to kill the
intensity a little bit and I think this will be great.
And actually today I'm not using the Fredrix canvas board. This is actually
the stretched canvas. The reason why is because I ran out of the board so
we're actually using a stretched canvas here which actually
obviously it's more ideal because it absorbs. You can probably see
it absorbs a little differently. You can feel
it kinda sucks in the paint a little more than the - with
the board backing and you can see it kinda resists a little bit but...
So that's what we're gonna be using.
And these stretch canvas board
come with different width. Sometimes they come with like a two inch, almost looks like a shadow box.
And for galleries and in the case you don't need to get your
yourself a frame, that itself can be just a display,
you know with that thick of a canvas.
(painting)
It might look darker now but
later I'm gonna take my paper towel and dry it,
kinda mop it over and it will light up a little bit.
I think just burnt sienna would be a little too intense.
So you have to - you can use a little bit of green if you want.
(painting)
At the bottom like I said I can probably
because it's more warm, I can probably just use more
burnt sienna, just a little bit of the black.
(painting)
So keep it - give a little
bit warmer temperature and a little bit darker.
(painting)
Okay so I'm gonna take
my paper towel, fold it nice and flat.
(painting)
Take my filbert. Again
a new painting I just throw a bunch of brushes.
(painting)
Let's see my brushes are all kinda some wear
and tear a little bit so I like to have a nice, flat edge
but this one feels like it's kinda puffy up a little bit.
Actually I want to use this filbert, actually a size 6, probably be good for
this is 18 by 24 again. Actually when I do a portrait, mostly
it's gonna be a vertical but today obviously is gonna be kinda a horizontal format.
I would like to just try, I'm just gonna try to use this brush because I'm a little
concerned about the edge. The tip is a little puffed up. Usually I like to have a little more
of a clean, like more of a sharp edge so
I can have better control of the line. The problem is once you
use it for a while, like I said before I guess in the first part
of the videos, the lessons, sometimes there's a paint
will kinda get into the roots of these brushes.
The hair. And they start to just kinda open it up. Okay.
But anyway, I'll see.
(painting)
So obviously
this is what the
gesture of the painting is gonna come in like, come over here.
So today we got Ryder, the gentleman, and Sara
is the beautiful reclining model. So Ryder, his head is probably gonna be
somewhere out here. I don't wanna put it - well I can probably - well here
is the middle of my canvas. I can almost see the stretch part behind it,
this is the white line right here. I can
probably put his head a little bit off that center. You probably don't want to put it off to the right
because the gesture coming like kinda flow this way. I don't think I will be able to
get Sara's feet but I probably still, you know,
wanna get to her knee and I said this before if you wanna crop, don't crop
at the joint, always crop halfway. So I think it's okay to still have her
knee over here, you know, and then just kinda her foot -
at least her foot is gonna be out here.
So and I don't want
the reclining stand - definitely don't
want to put that right at the halfway of this canvas. So I'm probably gonna put it right here
about a third.
I might just go in. I want to get a sense of
the - I guess the top of the
reclining bed. So instead just put that line, put the
crop this all the way out. Crop the bed all the way out. I might
come in, so see some of the background so I can get a sense of this
the top, this kinda depth like this, and this kinda comes in.
And the pillow and her head. Maybe I need
to be a little bit lower because in that case I'm gonna force Ryder's head a little bit too much
to the top of the frame.
(painting)
So that's to be safe I'm gonna move
down because I can have all this still red, which is
still be okay. I think still looks fine. I'm gonna move
Come in.
(painting)
And here's the two gray pillow and this is
here's Ryder's hand right here.
(painting)
So Sara, here head's gonna be right here.
(painting)
This is her shoulder coming in.
Very foreshortening
Got a lot of foreshortening
challenge in this pose. Ryder and
her - obviously Ryder's arm coming
towards us, that's a foreshortened arm.
Ryder would you - did you
hold - was your hand open like this or were you holding a little
bit tighter to Sara's hand. Yeah, yeah, that's better. Thank you.
(painting)
Need to watch out. When you're doing
foreshortened view, you really have to watch out the length. Like for example
her upper arm is gonna get really short. So I have to really watch out how much
like that deltoid that I see where her forearm takes off.
(painting)
Her hand is just the whole shape.
(painting)
I
always still think the best way to lay in is
to obviously today she's horizontal and I will basically
keep my proportions stretched this way. That means I will move my arm
this way. So if I screw up I will make her legs too long
and probably getting more slim too you know doing
standing pose all my shape, all my strokes are gonna come down this way.
(painting)
Got the sternocleidomastoid muscle, this is an
important landmark that helps me to know where
her ribcage kinda takes off.
(painting)
Give me a sense of where her collarbone is.
(painting)
I wanna make that here a little darker so I like just get a sense of how the neck
flow into that shoulder.
(painting)
I'm just gonna use the burnt sienna and the black for now just as a lay in
just keep it kinda harmonized with just a
darker version of what's on the tone basically so just nothing crazy.
(painting)
Here's Ryder's hand.
(painting)
The other thing about after the brush has been worn out
it doesn't really absorb the paint that well so you start getting - sometimes
can get frustrated it's like trying to get a nice - trying to put a line
down nicely sometimes it just kinda fades out.
So
the still life painting I did I used the synthetic
the red barrel if you guys look back to that
video, that one actually takes
paint pretty well but it's a softer brush
so it's for heavy mixing it just
it's a little bit too, you know, too weak to grab the paint. So
it has - you have to just kinda play with, like I said you have
benefits to it, you can have a softer touch, the paint will lay on canvas nicely versus
the rough hair like this sometimes if you try to put a stroke down it scrapes
things out. Use that - that was a round brush, you get
a different unique stroke with a round brush. I think for landscape it works
quite well. For figure I'm not a big fan with that
round brush because I think it has to be a little more advanced because it ends up I have seen
students use a round brush and they're doing too much dab. Instead
of thinking about planes.
(painting)
I'm gonna go up.
(painting)
It actually might be neat to crop
the top of Ryder's head.
(painting)
I want to create a point here.
(painting)
I'm gonna try a different brush.
(painting)
So I like - I wanna really push out
because I wanna get that triangle right here. See here
to his chin. Especially his ear, kinda angles out so much.
Give a nice, kinda nice triangle.
(painting)
Just gonna quickly
block in this big shadow shape
on his face.
A little bit transparent so I'm just gonna use a little more of the burnt sienna.
(painting)
Cast shadow of his neck
over her shoulder.
(painting)
Cast shadow of his nose.
(painting)
Okay so we got three minutes left in this pose.
(painting)
Quickly.
(painting)
You don't have to be quick,
I'm - just because I'm actually under a time
I'm actually chasing after a time limit so I have to
be a little bit quick but I never
suggest students, you know,
try to work it too fast because I think it's more important
to work efficient than working fast and kinda
blind - just not think - you know, more thoughtful
and really analyze. Unless
if you're maybe you're doing a quick sketch, that
two or three minute poses but then you're doing like an hour
approach, then maybe I will ask you to speed up a little bit
because we're looking for different
results.
(painting)
I want this to be a little bit warmer.
(painting)
Trapezius,
collarbone, shoulder. This shadow here is important, this is where the pectoralis
ends and the other begins, called the scapula triangle.
Which is normally looks like a triangle shape.
And that helps me to know where it the pectoralis, how much the shoulder
in relationship to the face because a lot of time, often
if you don't see this sometimes you make the shoulder too far out.
(painting)
Okay so this is our first break.
(painting)
Yeah, yeah.
(painting)
So I'm actually marking the models
and I probably should have done this before they got into position
but they're so good they kinda pretty much,
you know, they can get back to
where they were. But there's certain points, like where her hand was
and, you know, she might still want a
to mark where, you know, where that is or like the elbow.
(marking)
Just to me, I've been painting
doing this for - teaching painting class for a long time. I think
the toughest thing for me is not actually the painting. There's different challenges
in setting up the pose and getting the lighting. That's
actually to me it's actually tough.
(painting)
Ryder do you...? Okay.
(painting)
I wanna put one here.
(painting)
You're welcome. So I actually
when I stand back, I'm actually thinking
the full palette, still life painting, if you guys remember, again
if you don't know what I'm talking about you can go look at that lesson on the center on the canvas
there's a pot and where the leaves, the flower comes out.
At one point and I felt like they kinda have equal weight, the
plants and also the vase actually changed. I made the vase a little bit smaller
and so it made the plants feel a little more - give a little more
mass. So now I'm actually have to think about this too
is that who's dominant, right.
I wanna make sure I'm avoiding putting both of
the figures in the same proportions, similar
sizes because otherwise it cancels out. So
I think so far I'm okay. I feel like Ryder's a little
bit larger mass than Sara. So again you always think about there's actor
and there's like supporting actors. So
that's kinda, again, now you have two figure you have to think about
again who is the first read. Probably Ryder is gonna be the first
read anyway because that's where the peak out triangle and also
he's right in the middle and top of the painting so probably he's gonna
draw like the first read and then just gonna come to Sara and then
comes over here. So think that's how we're gonna, you know, how we're gonna
compose it. Okay. That means
all the shape design on them is gonna keep that way.
I'll see.
I definitely don't wanna make a line here, it would be too boring. I will break up that
with maybe her leg. We'll see.
We'll see. It's still kinda at the early stage.
and I'm gonna -
let's tone the canvas first. Of
course I'm gonna tone somewhat a brown key and I want to keep
the tone not too dark because if it's too dark it ends up
hard for you to see the shadow value when you put your value down.
So what we have here, again,
the brown color I have, I have the burnt sienna. I might now -
well I might can use a little bit of burnt umber but it's kinda, it's opaque, I can probably just
use burnt sienna and a touch of black just to kill the
intensity a little bit and I think this will be great.
And actually today I'm not using the Fredrix canvas board. This is actually
the stretched canvas. The reason why is because I ran out of the board so
we're actually using a stretched canvas here which actually
obviously it's more ideal because it absorbs. You can probably see
it absorbs a little differently. You can feel
it kinda sucks in the paint a little more than the - with
the board backing and you can see it kinda resists a little bit but...
So that's what we're gonna be using.
And these stretch canvas board
come with different width. Sometimes they come with like a two inch, almost looks like a shadow box.
And for galleries and in the case you don't need to get your
yourself a frame, that itself can be just a display,
you know with that thick of a canvas.
(painting)
It might look darker now but
later I'm gonna take my paper towel and dry it,
kinda mop it over and it will light up a little bit.
I think just burnt sienna would be a little too intense.
So you have to - you can use a little bit of green if you want.
(painting)
At the bottom like I said I can probably
because it's more warm, I can probably just use more
burnt sienna, just a little bit of the black.
(painting)
So keep it - give a little
bit warmer temperature and a little bit darker.
(painting)
Okay so I'm gonna take
my paper towel, fold it nice and flat.
(painting)
Take my filbert. Again
a new painting I just throw a bunch of brushes.
(painting)
Let's see my brushes are all kinda some wear
and tear a little bit so I like to have a nice, flat edge
but this one feels like it's kinda puffy up a little bit.
Actually I want to use this filbert, actually a size 6, probably be good for
this is 18 by 24 again. Actually when I do a portrait, mostly
it's gonna be a vertical but today obviously is gonna be kinda a horizontal format.
I would like to just try, I'm just gonna try to use this brush because I'm a little
concerned about the edge. The tip is a little puffed up. Usually I like to have a little more
of a clean, like more of a sharp edge so
I can have better control of the line. The problem is once you
use it for a while, like I said before I guess in the first part
of the videos, the lessons, sometimes there's a paint
will kinda get into the roots of these brushes.
The hair. And they start to just kinda open it up. Okay.
But anyway, I'll see.
(painting)
So obviously
this is what the
gesture of the painting is gonna come in like, come over here.
So today we got Ryder, the gentleman, and Sara
is the beautiful reclining model. So Ryder, his head is probably gonna be
somewhere out here. I don't wanna put it - well I can probably - well here
is the middle of my canvas. I can almost see the stretch part behind it,
this is the white line right here. I can
probably put his head a little bit off that center. You probably don't want to put it off to the right
because the gesture coming like kinda flow this way. I don't think I will be able to
get Sara's feet but I probably still, you know,
wanna get to her knee and I said this before if you wanna crop, don't crop
at the joint, always crop halfway. So I think it's okay to still have her
knee over here, you know, and then just kinda her foot -
at least her foot is gonna be out here.
So and I don't want
the reclining stand - definitely don't
want to put that right at the halfway of this canvas. So I'm probably gonna put it right here
about a third.
I might just go in. I want to get a sense of
the - I guess the top of the
reclining bed. So instead just put that line, put the
crop this all the way out. Crop the bed all the way out. I might
come in, so see some of the background so I can get a sense of this
the top, this kinda depth like this, and this kinda comes in.
And the pillow and her head. Maybe I need
to be a little bit lower because in that case I'm gonna force Ryder's head a little bit too much
to the top of the frame.
(painting)
So that's to be safe I'm gonna move
down because I can have all this still red, which is
still be okay. I think still looks fine. I'm gonna move
Come in.
(painting)
And here's the two gray pillow and this is
here's Ryder's hand right here.
(painting)
So Sara, here head's gonna be right here.
(painting)
This is her shoulder coming in.
Very foreshortening
Got a lot of foreshortening
challenge in this pose. Ryder and
her - obviously Ryder's arm coming
towards us, that's a foreshortened arm.
Ryder would you - did you
hold - was your hand open like this or were you holding a little
bit tighter to Sara's hand. Yeah, yeah, that's better. Thank you.
(painting)
Need to watch out. When you're doing
foreshortened view, you really have to watch out the length. Like for example
her upper arm is gonna get really short. So I have to really watch out how much
like that deltoid that I see where her forearm takes off.
(painting)
Her hand is just the whole shape.
(painting)
I
always still think the best way to lay in is
to obviously today she's horizontal and I will basically
keep my proportions stretched this way. That means I will move my arm
this way. So if I screw up I will make her legs too long
and probably getting more slim too you know doing
standing pose all my shape, all my strokes are gonna come down this way.
(painting)
Got the sternocleidomastoid muscle, this is an
important landmark that helps me to know where
her ribcage kinda takes off.
(painting)
Give me a sense of where her collarbone is.
(painting)
I wanna make that here a little darker so I like just get a sense of how the neck
flow into that shoulder.
(painting)
I'm just gonna use the burnt sienna and the black for now just as a lay in
just keep it kinda harmonized with just a
darker version of what's on the tone basically so just nothing crazy.
(painting)
Here's Ryder's hand.
(painting)
The other thing about after the brush has been worn out
it doesn't really absorb the paint that well so you start getting - sometimes
can get frustrated it's like trying to get a nice - trying to put a line
down nicely sometimes it just kinda fades out.
So
the still life painting I did I used the synthetic
the red barrel if you guys look back to that
video, that one actually takes
paint pretty well but it's a softer brush
so it's for heavy mixing it just
it's a little bit too, you know, too weak to grab the paint. So
it has - you have to just kinda play with, like I said you have
benefits to it, you can have a softer touch, the paint will lay on canvas nicely versus
the rough hair like this sometimes if you try to put a stroke down it scrapes
things out. Use that - that was a round brush, you get
a different unique stroke with a round brush. I think for landscape it works
quite well. For figure I'm not a big fan with that
round brush because I think it has to be a little more advanced because it ends up I have seen
students use a round brush and they're doing too much dab. Instead
of thinking about planes.
(painting)
I'm gonna go up.
(painting)
It actually might be neat to crop
the top of Ryder's head.
(painting)
I want to create a point here.
(painting)
I'm gonna try a different brush.
(painting)
So I like - I wanna really push out
because I wanna get that triangle right here. See here
to his chin. Especially his ear, kinda angles out so much.
Give a nice, kinda nice triangle.
(painting)
Just gonna quickly
block in this big shadow shape
on his face.
A little bit transparent so I'm just gonna use a little more of the burnt sienna.
(painting)
Cast shadow of his neck
over her shoulder.
(painting)
Cast shadow of his nose.
(painting)
Okay so we got three minutes left in this pose.
(painting)
Quickly.
(painting)
You don't have to be quick,
I'm - just because I'm actually under a time
I'm actually chasing after a time limit so I have to
be a little bit quick but I never
suggest students, you know,
try to work it too fast because I think it's more important
to work efficient than working fast and kinda
blind - just not think - you know, more thoughtful
and really analyze. Unless
if you're maybe you're doing a quick sketch, that
two or three minute poses but then you're doing like an hour
approach, then maybe I will ask you to speed up a little bit
because we're looking for different
results.
(painting)
I want this to be a little bit warmer.
(painting)
Trapezius,
collarbone, shoulder. This shadow here is important, this is where the pectoralis
ends and the other begins, called the scapula triangle.
Which is normally looks like a triangle shape.
And that helps me to know where it the pectoralis, how much the shoulder
in relationship to the face because a lot of time, often
if you don't see this sometimes you make the shoulder too far out.
(painting)
Okay so this is our first break.
(painting)
Yeah, yeah.
(painting)
So I'm actually marking the models
and I probably should have done this before they got into position
but they're so good they kinda pretty much,
you know, they can get back to
where they were. But there's certain points, like where her hand was
and, you know, she might still want a
to mark where, you know, where that is or like the elbow.
(marking)
Just to me, I've been painting
doing this for - teaching painting class for a long time. I think
the toughest thing for me is not actually the painting. There's different challenges
in setting up the pose and getting the lighting. That's
actually to me it's actually tough.
(painting)
Ryder do you...? Okay.
(painting)
I wanna put one here.
(painting)
You're welcome. So I actually
when I stand back, I'm actually thinking
the full palette, still life painting, if you guys remember, again
if you don't know what I'm talking about you can go look at that lesson on the center on the canvas
there's a pot and where the leaves, the flower comes out.
At one point and I felt like they kinda have equal weight, the
plants and also the vase actually changed. I made the vase a little bit smaller
and so it made the plants feel a little more - give a little more
mass. So now I'm actually have to think about this too
is that who's dominant, right.
I wanna make sure I'm avoiding putting both of
the figures in the same proportions, similar
sizes because otherwise it cancels out. So
I think so far I'm okay. I feel like Ryder's a little
bit larger mass than Sara. So again you always think about there's actor
and there's like supporting actors. So
that's kinda, again, now you have two figure you have to think about
again who is the first read. Probably Ryder is gonna be the first
read anyway because that's where the peak out triangle and also
he's right in the middle and top of the painting so probably he's gonna
draw like the first read and then just gonna come to Sara and then
comes over here. So think that's how we're gonna, you know, how we're gonna
compose it. Okay. That means
all the shape design on them is gonna keep that way.
I'll see.
I definitely don't wanna make a line here, it would be too boring. I will break up that
with maybe her leg. We'll see.
We'll see. It's still kinda at the early stage.
AUTO SCROLL
Okay so we just came back from the break and like I've said
before I took a break and
you guys can get ready and then
I take a look at my painting.
Actually so far it looks not bad, I'm kinda happy with
what I'm seeing. You know if I don't screw up and
I think, you know, it should
work in terms of this composition. So obviously I still have half way
need to, you know, need to work on. I think once
I get the lay in the next thing I want to do is block in the background,
the darker background, set the off, block in that nice, intense darker red,
you know so get some color in.
Because they're gonna be light because light against darker.
(painting)
I wanna drop this shoulder a little bit.
(painting)
So I'm looking at the silhouette,
his trapezius, deltoid, down to his arm. Elbow, I want that opening of
where the elbow meets Sara's hip.
And then that's a hip and that's where the leg...
(painting)
Drawing through.
(painting)
Beautiful curve goes
around, behind this knee. So I'm gonna put some shadow just
to mark - I wanna make sure I get that leg right.
(painting)
This knee is right here, he has a knee -
here's the knee cap.
(painting)
Got a big cast shadow coming in, coming from here.
Drop, kick over.
Just put a tone down here first
and then got some shadows and then goes to the knee
right here. Look at this diagonal relationship so
here's her other knee.
(painting)
This part comes out,
drop, merge into his hand.
(painting)
Looking at this contour to see does that flow
well. Up and down into his hand.
And then this hand comes in.
(painting)
Okay I kinda
actually this is a thing I need to make a decision
because before the last pose, I can see
her nipple, this nipple.
But now her arm is raised up higher
and covered that nipple. But I kinda like
this angle of her arm goes a little higher. So I might
just kinda go with it. So I'm gonna change this.
Or should I -
I'm gonna just do that. Okay.
So like I said this happens because you're painting from life
models might be subtle things we talked
about this before, it won't be the same especially
the drapery is not gonna be the same. But in this case
I'll go with this.
Raise up her arm
because maybe you get a little more of this to it
before it's kinda just more subtle.
(painting)
Putting in some
darker darks.
(painting)
Okay let's just go with this. So I'm gonna paint the dark
background first.
(painting)
So kinda
a middle brown.
(painting)
Let's make it
(painting)
a little bit darker than that. I'm looking at
not the light, I'm actually looking at the shadow part
because we can add light to come to the light side.
(painting)
And then I
can keep a little bit warmer, just get a sense that
that red, that intense red kind of
reflects into it. Just a little bit.
(painting)
Repaint those shadows around, behind
her head.
(painting)
Don't wanna make it too dark.
(painting)
I do want
to make that background a little bit darker.
(painting)
Yeah it's a little more of a rich,
darker chocolate color.
(painting)
And then we come to the middle it gets a little bit warmer and lighter.
(painting)
Come all the way down.
So it looks
like we got some nice light coming in this spot here too.
(painting)
So this chest might come out a little too far.
(painting)
Just bring it a little closer.
This is, again, this is that
gap between pectoralis and the deltoid.
(painting)
Okay let's put that
nice red, warm -
nice warm red.
Nice, rich alizarin crimson
but that might be a little too much, too intense. Add a little bit of burnt sienna.
Add a little bit of gamsol, just get
a nice wash.
(painting)
So this is the top.
(painting)
Here is
the front. So I can add a little bit
of burnt sienna, just even though it's
still got some light in the front. But just pretend
right now, just pretend there's a top plane and front plane
front plane receives less light, top plane receives more light.
(painting)
Make
Sara's hair - I wanna make it a little larger.
(painting)
It kinda flows into this red.
(painting)
So
Ryder's hand is gonna move out a little more right there.
(painting)
Just the pillow.
(painting)
So I got green, some type of earthy green,
darker
(painting)
color that gives me -
helps me to find the
end of that pillow.
(painting)
I'm not liking this yet. I'll change it later. Right now I'm just trying to
block things in as much as I can at this point.
(painting)
Block in some of the
shadow on her face.
(painting)
So I already have this kinda - this was
at the backdrop but it can work as a shadow because -
shadow side of her face because it's all kinda this kinda brownish
and I mentioned
about the figure, although there's not
that really not that much color, you can, you know,
play with the figure, especially in this brown surrounding.
Outdoor if you have this very porcelain
skin with a lot of vibrant color around it, maybe you can
reflect some of those lights in the skin
but in this case it's kinda keyed to this brown
get.
(painting)
It's blocking the side of the shadow of her nose and just
the ball of her eyes.
(painting)
The lips will be
somewhere
right here.
(painting)
Again light source comes from this side so everything on the left side
I can push a little bit darker.
(painting)
Feel some of that
that ball
of the
the eyeball.
(painting)
Block in some of the shadow on
the right here.
(painting)
before I took a break and
you guys can get ready and then
I take a look at my painting.
Actually so far it looks not bad, I'm kinda happy with
what I'm seeing. You know if I don't screw up and
I think, you know, it should
work in terms of this composition. So obviously I still have half way
need to, you know, need to work on. I think once
I get the lay in the next thing I want to do is block in the background,
the darker background, set the off, block in that nice, intense darker red,
you know so get some color in.
Because they're gonna be light because light against darker.
(painting)
I wanna drop this shoulder a little bit.
(painting)
So I'm looking at the silhouette,
his trapezius, deltoid, down to his arm. Elbow, I want that opening of
where the elbow meets Sara's hip.
And then that's a hip and that's where the leg...
(painting)
Drawing through.
(painting)
Beautiful curve goes
around, behind this knee. So I'm gonna put some shadow just
to mark - I wanna make sure I get that leg right.
(painting)
This knee is right here, he has a knee -
here's the knee cap.
(painting)
Got a big cast shadow coming in, coming from here.
Drop, kick over.
Just put a tone down here first
and then got some shadows and then goes to the knee
right here. Look at this diagonal relationship so
here's her other knee.
(painting)
This part comes out,
drop, merge into his hand.
(painting)
Looking at this contour to see does that flow
well. Up and down into his hand.
And then this hand comes in.
(painting)
Okay I kinda
actually this is a thing I need to make a decision
because before the last pose, I can see
her nipple, this nipple.
But now her arm is raised up higher
and covered that nipple. But I kinda like
this angle of her arm goes a little higher. So I might
just kinda go with it. So I'm gonna change this.
Or should I -
I'm gonna just do that. Okay.
So like I said this happens because you're painting from life
models might be subtle things we talked
about this before, it won't be the same especially
the drapery is not gonna be the same. But in this case
I'll go with this.
Raise up her arm
because maybe you get a little more of this to it
before it's kinda just more subtle.
(painting)
Putting in some
darker darks.
(painting)
Okay let's just go with this. So I'm gonna paint the dark
background first.
(painting)
So kinda
a middle brown.
(painting)
Let's make it
(painting)
a little bit darker than that. I'm looking at
not the light, I'm actually looking at the shadow part
because we can add light to come to the light side.
(painting)
And then I
can keep a little bit warmer, just get a sense that
that red, that intense red kind of
reflects into it. Just a little bit.
(painting)
Repaint those shadows around, behind
her head.
(painting)
Don't wanna make it too dark.
(painting)
I do want
to make that background a little bit darker.
(painting)
Yeah it's a little more of a rich,
darker chocolate color.
(painting)
And then we come to the middle it gets a little bit warmer and lighter.
(painting)
Come all the way down.
So it looks
like we got some nice light coming in this spot here too.
(painting)
So this chest might come out a little too far.
(painting)
Just bring it a little closer.
This is, again, this is that
gap between pectoralis and the deltoid.
(painting)
Okay let's put that
nice red, warm -
nice warm red.
Nice, rich alizarin crimson
but that might be a little too much, too intense. Add a little bit of burnt sienna.
Add a little bit of gamsol, just get
a nice wash.
(painting)
So this is the top.
(painting)
Here is
the front. So I can add a little bit
of burnt sienna, just even though it's
still got some light in the front. But just pretend
right now, just pretend there's a top plane and front plane
front plane receives less light, top plane receives more light.
(painting)
Make
Sara's hair - I wanna make it a little larger.
(painting)
It kinda flows into this red.
(painting)
So
Ryder's hand is gonna move out a little more right there.
(painting)
Just the pillow.
(painting)
So I got green, some type of earthy green,
darker
(painting)
color that gives me -
helps me to find the
end of that pillow.
(painting)
I'm not liking this yet. I'll change it later. Right now I'm just trying to
block things in as much as I can at this point.
(painting)
Block in some of the
shadow on her face.
(painting)
So I already have this kinda - this was
at the backdrop but it can work as a shadow because -
shadow side of her face because it's all kinda this kinda brownish
and I mentioned
about the figure, although there's not
that really not that much color, you can, you know,
play with the figure, especially in this brown surrounding.
Outdoor if you have this very porcelain
skin with a lot of vibrant color around it, maybe you can
reflect some of those lights in the skin
but in this case it's kinda keyed to this brown
get.
(painting)
It's blocking the side of the shadow of her nose and just
the ball of her eyes.
(painting)
The lips will be
somewhere
right here.
(painting)
Again light source comes from this side so everything on the left side
I can push a little bit darker.
(painting)
Feel some of that
that ball
of the
the eyeball.
(painting)
Block in some of the shadow on
the right here.
(painting)
AUTO SCROLL
Ryder can I see - let me just see
your head looking down a little bit.
I want to get a nice deeper shadow shapes
on the model. But sometimes the things before
when we set up this pose, I always have to concern -
my concern is always I want to make sure the model is in a comfortable position because
the body can ache once - if they're not
in a natural position and it's hurting,
both hurting the artist and also hurting the models
because the model when they start to feel aching they start moving and
the artist knows it, we can feel that, and I start getting panicked.
And so like I said so make sure
the model has to be comfortable.
(painting)
Add a little bit of black, just to
dirty up that color a little bit.
His skin looks more
orange. Again we have this orange spotlight so everything is gonna be
somewhat more orange.
(painting)
If you don't like the orange light, everything feels too
warm then you can use those
like the florescent light, the white light.
You get softer shadows, you don't get this
kind of dramatic
lighting like the Rembrandt light.
(painting)
There we go so that's
it for this pose. As you can see
I have to, you know, paint
based on what, in a kinda
in a pace because there's
lots I need to do and
just want to get as much of the things blocked in and making sure the
relationships works and for the rest, maybe the last hour
or so just to touch up some of the - tuning
some of the smaller stuff. But just the big idea
I want to make sure I can establish that's, you know,
quick as I can. Okay so let's take a break.
Okay so we're back from break.
A couple of things I will need to change and
definitely I don't like these shadows behind her
and this kinda feels like echoing to her hair. I don't like
that, you know, those shadows. I might
change that. And I think I might also later
make the background a little bit darker, feel like the background is kinda on the lighter side.
Models are you guys ready?
(painting)
So again like I said I'll try and block most
of this stuff is, just focus on the light and
dark separations. Once all those smaller tuning stuff
I'll deal with that later.
(painting)
So we're working on Ryder's face
I still wanna block in a little bit more - I still wanna block in the shadow, not
a little more. I haven't blocked in the shadow yet.
So how do you figure out what the shadow color is? Okay so again this is kinda brown
painting basically. And then we're try to - later on we'll try to add some color in
that. So again just to be a safer side, let's
make a somewhat a browner shadow color. So pretty much
you can see on my palette is all pretty much brown.
Unless if you do wanna push, like for example you wanna push a little bit
greener, I could take the brown add a
little bit of green. I can use the yellow and black or I can actually use the a
actually veridian green.
(painting)
Feel that's a little actually too dark, might be a little too cold.
I want to warm it up a little bit.
(painting)
When you get down here it gets a bit more warmer because you've got the reflected light from
the, again, from the cloth.
(painting)
Paint underneath so I need to mix thicker paint
to lay over it.
I do still feel like there's a lot of red
in his eye socket.
So I'm gonna still try to
see if I can push that idea.
I'm gonna use a warmer color.
(painting)
Again if you're gonna screw up, it's always
better to screw up by making all your proportions a little too long.
I made that nose definitely a little too long.
But it's a better screw up.
And it also is easier to fix.
Once you make it too long it's easier to trim it
shorter in this case.
I usually - because the problem is if you make it short usually you're afraid to add
we just kinda tend to leave it there. And if we make it too long, visually
we have something down on the canvas that allows us to
scrape it up, take it off. But usually when you make it too short, sometimes
you just, you know, tend to not to do anything to it.
(painting)
This is the shadow underneath the lips, it's not the lips
itself it's just the shadow underneath. I still want to make it...
(painting)
Take my nice sable brush.
(painting)
I want to, I guess,
put his head down a little bit. I think my painting looks a little
higher up. I want - let me paint some hair
and see if I can bring his head down a little bit.
(painting)
So you know what I'm gonna - I'm gonna
reestablish his face
because the angle
of his face to me is very important.
That's why I think the second set I asked
him to look down a little bit because I really like that
gesture. So I think I didn't capture that. I'm gonna
try and redo it.
(painting)
Just gonna actually paint around
his head
first.
(painting)
Okay I'm gonna change to a bigger brush.
(painting)
I'm gonna make it lighter and
yellower because that's where the light source is hitting him.
(painting)
So I'm gonna mix intense
orange. Just to
the - my hansa yellow and my cad red.
(painting)
Got some more pale over here.
(painting)
More orange down here.
(painting)
Just push a little more orange.
That's better.
(painting)
As we get to here his hand gets a little more lighter and pink.
(painting)
Push a little more pink.
(painting)
When we get to the front of the fingers gets really dark
and red.
Just the shadow and also the red reflected
light from the cloth.
(painting)
What I'm gonna do I'm actually gonna paint these red although it doesn't seem red.
I'm just imagining that red glowing underneath
and I can paint a darker color over it and then it won't be red but
then maybe I can still keep that, you know, that red glow
underneath of the side of his torso.
So I'm gonna try that.
(painting)
And here too but although we got some little bit greener
because that's a little yellow in there.
(painting)
I'm gonna get this shadow down first.
(painting)
We can see his torso actually a little bit narrower.
(painting)
Because this side
torso is going away from us, this side comes in. I'll deal with that negative
space because I know his arm is coming - maybe I need to move the arm
over to close up that space.
(painting)
Like I said I'll still work with it.
Again I can tell it's different now than before. I can see his hand right here,
right now this hand is not there and I see more of forearm. Alright so
again I'm just still gonna work with
what I, you know, see up there. If later I might still
like to have a hand there I might still paint it but
I'm just still gonna -
I'm just gonna go with it. I'm gonna paint this - this looks right now this is all in shadow.
But I kinda like his forearm I wanna catch some of that light.
But I don't have any room and at this point I don't wanna shift her head.
So I'm not gonna make this
new shadow, I'm still gonna keep it as how I see it on the
let's just work a little more.
(painting)
So here the half tone feels a little cooler.
(painting)
I want a little bit gray.
Somehow I see a gray in there.
(painting)
See his ear is right
here.
(painting)
Sternal
cheek.
(painting)
I'm gonna come back to his face and block in that shadow shape on his eye socket.
(painting)
It has to be
lower than
his ear. So come over here.
Here we go now you can see how the
I feel like his head drops by putting the eye socket
lower, give him more forehead.
(painting)
Reshape her hair. I might
trim - maybe not
I was gonna say I might trim her forehead but
I think it's okay.
(painting)
I need that dark right there.
(painting)
Let's make her neck a little skinnier.
Bring this dark.
(painting)
Add a little bit of yellow, feels a little
too dark.
(painting)
So once again, once you have block in dark
area always look somewhere else because use those
block darks to anchor the viewer's read so move somewhere else -
the cast shadow on Ryder.
(painting)
Get that
mark. Because that can
affect - there's a lot of things happening here you got the deltoid, you got all these
planes and it comes back into, you got side, top side, and then you got
this top plane, the pectoralis, chest
facing the light, and then you turn. So that's gonna help me to get a sense of
you know where's this shape and where's this shape.
(painting)
I definitely need to make that background darker.
Cast light my light and shadow shape.
Right now they kinda they feel
kinda unified so I kinda I like it. There's still a lot more work to do
but so far I think it's okay. And then
when I come back I should make it darker, the background, right away.
So because I'm gonna do that
I might just kinda take my paper towel
flat to pick up some of the paint
behind it. And plus I got glare too on
this side a lot. So
I'm gonna do that so later I'll come back, make it
darker so I don't need to fight against what's underneath.
(painting)
Let me bring this
stroke, too much going on let me - sometimes I do that
too, it's just when you make a
paper towel like this it almost looks like you are painting with a flat - this wide of a
like one inch, almost two inch wide brush.
Sometimes it really helps you to minimize the strokes.
Helps you to see a large shape.
your head looking down a little bit.
I want to get a nice deeper shadow shapes
on the model. But sometimes the things before
when we set up this pose, I always have to concern -
my concern is always I want to make sure the model is in a comfortable position because
the body can ache once - if they're not
in a natural position and it's hurting,
both hurting the artist and also hurting the models
because the model when they start to feel aching they start moving and
the artist knows it, we can feel that, and I start getting panicked.
And so like I said so make sure
the model has to be comfortable.
(painting)
Add a little bit of black, just to
dirty up that color a little bit.
His skin looks more
orange. Again we have this orange spotlight so everything is gonna be
somewhat more orange.
(painting)
If you don't like the orange light, everything feels too
warm then you can use those
like the florescent light, the white light.
You get softer shadows, you don't get this
kind of dramatic
lighting like the Rembrandt light.
(painting)
There we go so that's
it for this pose. As you can see
I have to, you know, paint
based on what, in a kinda
in a pace because there's
lots I need to do and
just want to get as much of the things blocked in and making sure the
relationships works and for the rest, maybe the last hour
or so just to touch up some of the - tuning
some of the smaller stuff. But just the big idea
I want to make sure I can establish that's, you know,
quick as I can. Okay so let's take a break.
Okay so we're back from break.
A couple of things I will need to change and
definitely I don't like these shadows behind her
and this kinda feels like echoing to her hair. I don't like
that, you know, those shadows. I might
change that. And I think I might also later
make the background a little bit darker, feel like the background is kinda on the lighter side.
Models are you guys ready?
(painting)
So again like I said I'll try and block most
of this stuff is, just focus on the light and
dark separations. Once all those smaller tuning stuff
I'll deal with that later.
(painting)
So we're working on Ryder's face
I still wanna block in a little bit more - I still wanna block in the shadow, not
a little more. I haven't blocked in the shadow yet.
So how do you figure out what the shadow color is? Okay so again this is kinda brown
painting basically. And then we're try to - later on we'll try to add some color in
that. So again just to be a safer side, let's
make a somewhat a browner shadow color. So pretty much
you can see on my palette is all pretty much brown.
Unless if you do wanna push, like for example you wanna push a little bit
greener, I could take the brown add a
little bit of green. I can use the yellow and black or I can actually use the a
actually veridian green.
(painting)
Feel that's a little actually too dark, might be a little too cold.
I want to warm it up a little bit.
(painting)
When you get down here it gets a bit more warmer because you've got the reflected light from
the, again, from the cloth.
(painting)
Paint underneath so I need to mix thicker paint
to lay over it.
I do still feel like there's a lot of red
in his eye socket.
So I'm gonna still try to
see if I can push that idea.
I'm gonna use a warmer color.
(painting)
Again if you're gonna screw up, it's always
better to screw up by making all your proportions a little too long.
I made that nose definitely a little too long.
But it's a better screw up.
And it also is easier to fix.
Once you make it too long it's easier to trim it
shorter in this case.
I usually - because the problem is if you make it short usually you're afraid to add
we just kinda tend to leave it there. And if we make it too long, visually
we have something down on the canvas that allows us to
scrape it up, take it off. But usually when you make it too short, sometimes
you just, you know, tend to not to do anything to it.
(painting)
This is the shadow underneath the lips, it's not the lips
itself it's just the shadow underneath. I still want to make it...
(painting)
Take my nice sable brush.
(painting)
I want to, I guess,
put his head down a little bit. I think my painting looks a little
higher up. I want - let me paint some hair
and see if I can bring his head down a little bit.
(painting)
So you know what I'm gonna - I'm gonna
reestablish his face
because the angle
of his face to me is very important.
That's why I think the second set I asked
him to look down a little bit because I really like that
gesture. So I think I didn't capture that. I'm gonna
try and redo it.
(painting)
Just gonna actually paint around
his head
first.
(painting)
Okay I'm gonna change to a bigger brush.
(painting)
I'm gonna make it lighter and
yellower because that's where the light source is hitting him.
(painting)
So I'm gonna mix intense
orange. Just to
the - my hansa yellow and my cad red.
(painting)
Got some more pale over here.
(painting)
More orange down here.
(painting)
Just push a little more orange.
That's better.
(painting)
As we get to here his hand gets a little more lighter and pink.
(painting)
Push a little more pink.
(painting)
When we get to the front of the fingers gets really dark
and red.
Just the shadow and also the red reflected
light from the cloth.
(painting)
What I'm gonna do I'm actually gonna paint these red although it doesn't seem red.
I'm just imagining that red glowing underneath
and I can paint a darker color over it and then it won't be red but
then maybe I can still keep that, you know, that red glow
underneath of the side of his torso.
So I'm gonna try that.
(painting)
And here too but although we got some little bit greener
because that's a little yellow in there.
(painting)
I'm gonna get this shadow down first.
(painting)
We can see his torso actually a little bit narrower.
(painting)
Because this side
torso is going away from us, this side comes in. I'll deal with that negative
space because I know his arm is coming - maybe I need to move the arm
over to close up that space.
(painting)
Like I said I'll still work with it.
Again I can tell it's different now than before. I can see his hand right here,
right now this hand is not there and I see more of forearm. Alright so
again I'm just still gonna work with
what I, you know, see up there. If later I might still
like to have a hand there I might still paint it but
I'm just still gonna -
I'm just gonna go with it. I'm gonna paint this - this looks right now this is all in shadow.
But I kinda like his forearm I wanna catch some of that light.
But I don't have any room and at this point I don't wanna shift her head.
So I'm not gonna make this
new shadow, I'm still gonna keep it as how I see it on the
let's just work a little more.
(painting)
So here the half tone feels a little cooler.
(painting)
I want a little bit gray.
Somehow I see a gray in there.
(painting)
See his ear is right
here.
(painting)
Sternal
cheek.
(painting)
I'm gonna come back to his face and block in that shadow shape on his eye socket.
(painting)
It has to be
lower than
his ear. So come over here.
Here we go now you can see how the
I feel like his head drops by putting the eye socket
lower, give him more forehead.
(painting)
Reshape her hair. I might
trim - maybe not
I was gonna say I might trim her forehead but
I think it's okay.
(painting)
I need that dark right there.
(painting)
Let's make her neck a little skinnier.
Bring this dark.
(painting)
Add a little bit of yellow, feels a little
too dark.
(painting)
So once again, once you have block in dark
area always look somewhere else because use those
block darks to anchor the viewer's read so move somewhere else -
the cast shadow on Ryder.
(painting)
Get that
mark. Because that can
affect - there's a lot of things happening here you got the deltoid, you got all these
planes and it comes back into, you got side, top side, and then you got
this top plane, the pectoralis, chest
facing the light, and then you turn. So that's gonna help me to get a sense of
you know where's this shape and where's this shape.
(painting)
I definitely need to make that background darker.
Cast light my light and shadow shape.
Right now they kinda they feel
kinda unified so I kinda I like it. There's still a lot more work to do
but so far I think it's okay. And then
when I come back I should make it darker, the background, right away.
So because I'm gonna do that
I might just kinda take my paper towel
flat to pick up some of the paint
behind it. And plus I got glare too on
this side a lot. So
I'm gonna do that so later I'll come back, make it
darker so I don't need to fight against what's underneath.
(painting)
Let me bring this
stroke, too much going on let me - sometimes I do that
too, it's just when you make a
paper towel like this it almost looks like you are painting with a flat - this wide of a
like one inch, almost two inch wide brush.
Sometimes it really helps you to minimize the strokes.
Helps you to see a large shape.
AUTO SCROLL
Okay so I
last break I got some,
you know, some more ideas. First of all I'm gonna darken the background like I
said and also what I thought about to do would be nice
was I'm gonna more blast
out Sara. I'm gonna make her more of a lighter,
maybe lighter porcelain or light - anyway
gonna be a lighter kinda value. I'm gonna
set Ryder in a little darker, not much contrast so
you know so she will kinda glow out from him.
And we almost feel she received the first
light and the light kind of illuminates
onto him. So she's the first light source basically.
So let me start with her. And let's darken the background.
first.
(painting)
I can just
lose his hair to the background.
(painting)
I have to watch out for the stroke
because again that will catch light. I like - I love strokes, I like
strokes, brush strokes, which that's why sometimes I like to paint
on the smooth surface and you guys can try that too
paint on a board and then gesso and sand it really smooth.
You can - you got that really nice, fluid strokes.
Which it's nice, it gives you that nice impressionist look.
But in this case I have to watch out because now I
see how I get glare.
And actually when I do vertical lines I get that much.
But I tend to like to do vertical - horizontal lines don't get that much -
I tend to like to do vertical because again I like to stretch the proportions.
(painting)
Or sometimes, like I said, I just follow the planes or follow
the gestures. You know I need to watch out, maybe I'll do
more this way.
(painting)
I added a little bit of alizarin crimson,
just I don't want to like in a dab black, just warm up a little bit.
(painting)
So light hits here so you get some little glow.
You got some glows here but you're gonna get more glows on the back because again
the light is gonna skip off him and hitting right here.
(painting)
Then here I'm gonna make it really dark, kinda make it really dramatic.
(painting)
I'm gonna take that dark into her.
(painting)
I'll take that dark into this way, right here.
So I need to add a little more alizarin crimson, just to be safe.
(painting)
And here's the
front of the drapes.
Because I'm not worried about the folds
for this demonstration I just want it
get the overall impression of the painting there.
(painting)
Coming, come in this way.
(painting)
Playing with some of the wetness. Sometimes I kinda like
to leave some of this wet strokes. It's kinda nice.
(painting)
You gotta watch out though, these
are just gonna be temporary. When it dries it's gonna turn different, it's gonna turn -
you're not gonna see the strokes and you're not gonna see that intensity anymore
because it's still wet. But I'm just gonna leave it for now and
it's still gonna have something down there.
that might create some results. I'm just gonna leave it for now.
(painting)
I keep mentioning about
my still life, this reminds me of that tabletop, that still life on the table that
has a little green carpet that leads to the still life.
(painting)
Keep a soft edge, just gonna fade into the dark background.
(painting)
I'll give a little bit of glow
to him.
(painting)
A little more than that.
(painting)
Can't really see. Maybe a little bit warmer.
(painting)
Not sure.
I'm gonna move on because it's a little hard to see.
(painting)
I'm gonna get her -
paint her body first.
(painting)
Get rid of this.
Adds a little more space. I might need that space to shift
subtle changes in the light side. I'm gonna make here, again, I'll make her really bright.
(painting)
Just want to keep into...
(painting)
Still wanna
be a little bit yellower because I don't want her to be too off key.
(painting)
So her arm gets a little bit
warmer.
(painting)
Push a little more.
(painting)
There we go I wanted to
separate - I want a dark arm against the lighter torso.
(painting)
Push this even more
(painting)
Got this strong, reflected light.
Strong reflected light.
(painting)
Right here.
(painting)
I might - see now I
paint the light side of her I think this now looks too light now, the shadows.
(painting)
Some of this little things I wanna keep it light on the torso all the
transition is gonna be a little subtle so I'm just gonna take this lighter kinda cooler paint
just to mark some of the area where the ribcage turns down, the breast turns over.
(painting)
Feel a little more have this kind of orange
green half tone on the side of her hip.
(painting)
Too light, too light.
Same as the shadow so I'm gonna - let's push
darker.
(painting)
I want this
flow, kinda flow this way.
Keep
her leg a little bit cooler.
I want her -
that chin to be up there. I'm just gonna mark it.
I mean her knee is gonna be right here.
(painting)
That gives you like a better flow.
(painting)
Yeah, thank you.
(painting)
Okay so...
(painting)
So far so good, I have to step back to see how is the background
gradation
looks because I can't see it up here.
Alright let's take a break.
last break I got some,
you know, some more ideas. First of all I'm gonna darken the background like I
said and also what I thought about to do would be nice
was I'm gonna more blast
out Sara. I'm gonna make her more of a lighter,
maybe lighter porcelain or light - anyway
gonna be a lighter kinda value. I'm gonna
set Ryder in a little darker, not much contrast so
you know so she will kinda glow out from him.
And we almost feel she received the first
light and the light kind of illuminates
onto him. So she's the first light source basically.
So let me start with her. And let's darken the background.
first.
(painting)
I can just
lose his hair to the background.
(painting)
I have to watch out for the stroke
because again that will catch light. I like - I love strokes, I like
strokes, brush strokes, which that's why sometimes I like to paint
on the smooth surface and you guys can try that too
paint on a board and then gesso and sand it really smooth.
You can - you got that really nice, fluid strokes.
Which it's nice, it gives you that nice impressionist look.
But in this case I have to watch out because now I
see how I get glare.
And actually when I do vertical lines I get that much.
But I tend to like to do vertical - horizontal lines don't get that much -
I tend to like to do vertical because again I like to stretch the proportions.
(painting)
Or sometimes, like I said, I just follow the planes or follow
the gestures. You know I need to watch out, maybe I'll do
more this way.
(painting)
I added a little bit of alizarin crimson,
just I don't want to like in a dab black, just warm up a little bit.
(painting)
So light hits here so you get some little glow.
You got some glows here but you're gonna get more glows on the back because again
the light is gonna skip off him and hitting right here.
(painting)
Then here I'm gonna make it really dark, kinda make it really dramatic.
(painting)
I'm gonna take that dark into her.
(painting)
I'll take that dark into this way, right here.
So I need to add a little more alizarin crimson, just to be safe.
(painting)
And here's the
front of the drapes.
Because I'm not worried about the folds
for this demonstration I just want it
get the overall impression of the painting there.
(painting)
Coming, come in this way.
(painting)
Playing with some of the wetness. Sometimes I kinda like
to leave some of this wet strokes. It's kinda nice.
(painting)
You gotta watch out though, these
are just gonna be temporary. When it dries it's gonna turn different, it's gonna turn -
you're not gonna see the strokes and you're not gonna see that intensity anymore
because it's still wet. But I'm just gonna leave it for now and
it's still gonna have something down there.
that might create some results. I'm just gonna leave it for now.
(painting)
I keep mentioning about
my still life, this reminds me of that tabletop, that still life on the table that
has a little green carpet that leads to the still life.
(painting)
Keep a soft edge, just gonna fade into the dark background.
(painting)
I'll give a little bit of glow
to him.
(painting)
A little more than that.
(painting)
Can't really see. Maybe a little bit warmer.
(painting)
Not sure.
I'm gonna move on because it's a little hard to see.
(painting)
I'm gonna get her -
paint her body first.
(painting)
Get rid of this.
Adds a little more space. I might need that space to shift
subtle changes in the light side. I'm gonna make here, again, I'll make her really bright.
(painting)
Just want to keep into...
(painting)
Still wanna
be a little bit yellower because I don't want her to be too off key.
(painting)
So her arm gets a little bit
warmer.
(painting)
Push a little more.
(painting)
There we go I wanted to
separate - I want a dark arm against the lighter torso.
(painting)
Push this even more
(painting)
Got this strong, reflected light.
Strong reflected light.
(painting)
Right here.
(painting)
I might - see now I
paint the light side of her I think this now looks too light now, the shadows.
(painting)
Some of this little things I wanna keep it light on the torso all the
transition is gonna be a little subtle so I'm just gonna take this lighter kinda cooler paint
just to mark some of the area where the ribcage turns down, the breast turns over.
(painting)
Feel a little more have this kind of orange
green half tone on the side of her hip.
(painting)
Too light, too light.
Same as the shadow so I'm gonna - let's push
darker.
(painting)
I want this
flow, kinda flow this way.
Keep
her leg a little bit cooler.
I want her -
that chin to be up there. I'm just gonna mark it.
I mean her knee is gonna be right here.
(painting)
That gives you like a better flow.
(painting)
Yeah, thank you.
(painting)
Okay so...
(painting)
So far so good, I have to step back to see how is the background
gradation
looks because I can't see it up here.
Alright let's take a break.
AUTO SCROLL
Okay so
we just came back from another break
and there's a few things that I see which I like.
I actually really like this front end of the
red cloth. I might not gonna touch that.
You can still - it's kinda done impressionistically but also
you can see where the top meets the front. When it dries obviously you don't see that intensity of the glare
anymore but some of these strokes are nice.
I like that and like I said this is not gonna be a tightly rendered piece
I'm just gonna leave it like that. The background wise I might
see just make it darker because I really can't really read, can't really see, so I'm just probably just
gonna do what I've done before and kinda make it all darker. I like what I
did with Sara, I think the torso - I like the flow. I can already see
that's gonna work nicely. I think I have more work, I need to work on Ryder because he
is not quite flowing well into Sara so I need to work on him.
So let's darken the background, maybe bring this part
of Sara out, the lower part, and then we need to spend some time working on Ryder.
(painting)
Again all about how
this shape, this light shape, how it flows into
you know here lower part, her stomach.
But it's not just about this, it's about all this, how you connect.
So you need to be a good shape designer.
basically.
(painting)
Looks a little yellower but it's also a little bit greener.
(painting)
Gonna get to the half tone area.
So I'm squinting my eyes.
I wanna get this shape right.
Let's just paint that
down first.
(painting)
Again light source is coming below her so it's lighter right here on the bottom
of the stomach. So I'm gonna - instead of making it lighter, I'm gonna make this
a little bit warmer and darker.
(painting)
Okay and let's move up to her hip.
(painting)
Here the tube or
her thigh. Here's the knee. And usually you can see
the knee gets warmer, like the joint usually gets a
little bit warmer, you can see how warm that knee is.
We're gonna come back and push that - let's push that right now.
(painting)
Let's push this one even warmer, just for now.
(painting)
Have really intense reflections
(painting)
right in here.
That probably can be a little bit lighter. Let's
do it a little bit lighter. I'm gonna add my intense yellow.
Intense red. Let's push it a little more, let's do that.
Here we go. I'm gonna put that red shadow
and tan shadow on the bottom of her thigh too. Just mix a little more.
(painting)
Actually even more. This one's close to the cloth.
(painting)
Even more. That one is
really red. Really push that.
(painting)
The light off some of his hair
looks kinda greenish.
(painting)
Maybe a little bit red.
That's better.
(painting)
A little bit lighter.
(painting)
I think that's the pillow.
(painting)
Still working on this part of the leg a little bit.
(painting)
More red but I don't want it too red.
I can either go green or I can either go
burnt umber if you want but now I'm just gonna play with my color a little bit
instead always go to the burnt umber to create that dirty, earthy
red maybe I can try to use actually some of the real color like the
blue. Just see how that looks.
(painting)
Again don't worry about losing that drawing, as long as you think of this as a tube.
Just reestablish that tube.
(painting)
Let's make this half tone
a little bit richer, a little bit dirtier.
And here
we got also more greener shadows.
(painting)
Let me push the shadow darker,
Stand back and check for a second, let me push this darker, where is that knee
the knee is right here.
(painting)
I wanna - that could work but I wanna
to merge that red with
kind of transitioning to that red a little better so I'm gonna add a little bit of red.
(painting)
There we go so now it's darker but it's warmer so I
add a little bit of red, I also added a little bit of the ultramarine blue.
(painting)
Watch out for that shadow shape
right there, that cast shadow.
(painting)
Come back to here,
come down.
Right here come over, drop right
there and lift up.
So all of this should be light.
Come back to my light side.
Push this up into this knee right here.
Step back and check.
(painting)
I want to raise up this light a little bit, I want
this hip to come out a little bigger.
(painting)
I want that leg goes away and also gets a
little I guess brown because I wanted it to go into just
fades out.
(painting)
Let's get that shadow in there first,
help us define where that shape is.
So obviously it's very red.
(painting)
I'll just lighten this part, this part is too dark.
(painting)
Here could be darker.
Here it gets lighter.
(painting)
I wanted this to fade out into cooler
kinda cooler color.
(painting)
So again, push what you can.
If it's cooler make it cooler, bluer make it bluer, blue or green make it greener, redder
make it redder. Too much and we pull back.
(painting)
And at the same time be aware
of the dark and light separations.
(painting)
That burnt umber
feels really dry.
(painting)
See that blue is nice, make it cooler down
very quick and then still get that nice dark brown.
So I'm not gonna
trim, I think I wanna trim this leg a little bit.
(painting)
And actually lift out this red here.
(painting)
Push it more.
(painting)
So it's too much, we come back.
(painting)
Play it down a little bit, this I do see yellow here.
Just hard to see.
Yeah I got yellower
reflected light here too so make it - pop that.
(painting)
Let me lighten this. This almost looks like somewhat
kinda gray, I don't know, somewhat
in this area.
(painting)
Here it gets redder, right,
so let's take some red, come up to here.
(painting)
It will shift up, gets darker
again. Take this, where it's darker let's come over
here. Just use this.
And then gets really dark when it goes
up. We'll soften this edge.
(painting)
I wanna soften some of these edges too
(painting)
Use paint to soften the edge.
(painting)
Because this part of the leg, coming out this way
like this, so it's actually it's not kind of facing the light. The light is more
facing more this direction. So it's actually it's a little bit
rich in the half tone area.
(painting)
Take some
of that red and come back in, bring it back in.
(painting)
So I want - now we've got the top corner
and then that's where the shadow, so the corner needs to be a little bit darker.
(painting)
And then push that
shadow.
(painting)
That shadow darker.
(painting)
Okay so I got Sara blocked in. I like the flow.
(painting)
I might, later I might adjust the color here.
This feels a little too strong.
(painting)
we just came back from another break
and there's a few things that I see which I like.
I actually really like this front end of the
red cloth. I might not gonna touch that.
You can still - it's kinda done impressionistically but also
you can see where the top meets the front. When it dries obviously you don't see that intensity of the glare
anymore but some of these strokes are nice.
I like that and like I said this is not gonna be a tightly rendered piece
I'm just gonna leave it like that. The background wise I might
see just make it darker because I really can't really read, can't really see, so I'm just probably just
gonna do what I've done before and kinda make it all darker. I like what I
did with Sara, I think the torso - I like the flow. I can already see
that's gonna work nicely. I think I have more work, I need to work on Ryder because he
is not quite flowing well into Sara so I need to work on him.
So let's darken the background, maybe bring this part
of Sara out, the lower part, and then we need to spend some time working on Ryder.
(painting)
Again all about how
this shape, this light shape, how it flows into
you know here lower part, her stomach.
But it's not just about this, it's about all this, how you connect.
So you need to be a good shape designer.
basically.
(painting)
Looks a little yellower but it's also a little bit greener.
(painting)
Gonna get to the half tone area.
So I'm squinting my eyes.
I wanna get this shape right.
Let's just paint that
down first.
(painting)
Again light source is coming below her so it's lighter right here on the bottom
of the stomach. So I'm gonna - instead of making it lighter, I'm gonna make this
a little bit warmer and darker.
(painting)
Okay and let's move up to her hip.
(painting)
Here the tube or
her thigh. Here's the knee. And usually you can see
the knee gets warmer, like the joint usually gets a
little bit warmer, you can see how warm that knee is.
We're gonna come back and push that - let's push that right now.
(painting)
Let's push this one even warmer, just for now.
(painting)
Have really intense reflections
(painting)
right in here.
That probably can be a little bit lighter. Let's
do it a little bit lighter. I'm gonna add my intense yellow.
Intense red. Let's push it a little more, let's do that.
Here we go. I'm gonna put that red shadow
and tan shadow on the bottom of her thigh too. Just mix a little more.
(painting)
Actually even more. This one's close to the cloth.
(painting)
Even more. That one is
really red. Really push that.
(painting)
The light off some of his hair
looks kinda greenish.
(painting)
Maybe a little bit red.
That's better.
(painting)
A little bit lighter.
(painting)
I think that's the pillow.
(painting)
Still working on this part of the leg a little bit.
(painting)
More red but I don't want it too red.
I can either go green or I can either go
burnt umber if you want but now I'm just gonna play with my color a little bit
instead always go to the burnt umber to create that dirty, earthy
red maybe I can try to use actually some of the real color like the
blue. Just see how that looks.
(painting)
Again don't worry about losing that drawing, as long as you think of this as a tube.
Just reestablish that tube.
(painting)
Let's make this half tone
a little bit richer, a little bit dirtier.
And here
we got also more greener shadows.
(painting)
Let me push the shadow darker,
Stand back and check for a second, let me push this darker, where is that knee
the knee is right here.
(painting)
I wanna - that could work but I wanna
to merge that red with
kind of transitioning to that red a little better so I'm gonna add a little bit of red.
(painting)
There we go so now it's darker but it's warmer so I
add a little bit of red, I also added a little bit of the ultramarine blue.
(painting)
Watch out for that shadow shape
right there, that cast shadow.
(painting)
Come back to here,
come down.
Right here come over, drop right
there and lift up.
So all of this should be light.
Come back to my light side.
Push this up into this knee right here.
Step back and check.
(painting)
I want to raise up this light a little bit, I want
this hip to come out a little bigger.
(painting)
I want that leg goes away and also gets a
little I guess brown because I wanted it to go into just
fades out.
(painting)
Let's get that shadow in there first,
help us define where that shape is.
So obviously it's very red.
(painting)
I'll just lighten this part, this part is too dark.
(painting)
Here could be darker.
Here it gets lighter.
(painting)
I wanted this to fade out into cooler
kinda cooler color.
(painting)
So again, push what you can.
If it's cooler make it cooler, bluer make it bluer, blue or green make it greener, redder
make it redder. Too much and we pull back.
(painting)
And at the same time be aware
of the dark and light separations.
(painting)
That burnt umber
feels really dry.
(painting)
See that blue is nice, make it cooler down
very quick and then still get that nice dark brown.
So I'm not gonna
trim, I think I wanna trim this leg a little bit.
(painting)
And actually lift out this red here.
(painting)
Push it more.
(painting)
So it's too much, we come back.
(painting)
Play it down a little bit, this I do see yellow here.
Just hard to see.
Yeah I got yellower
reflected light here too so make it - pop that.
(painting)
Let me lighten this. This almost looks like somewhat
kinda gray, I don't know, somewhat
in this area.
(painting)
Here it gets redder, right,
so let's take some red, come up to here.
(painting)
It will shift up, gets darker
again. Take this, where it's darker let's come over
here. Just use this.
And then gets really dark when it goes
up. We'll soften this edge.
(painting)
I wanna soften some of these edges too
(painting)
Use paint to soften the edge.
(painting)
Because this part of the leg, coming out this way
like this, so it's actually it's not kind of facing the light. The light is more
facing more this direction. So it's actually it's a little bit
rich in the half tone area.
(painting)
Take some
of that red and come back in, bring it back in.
(painting)
So I want - now we've got the top corner
and then that's where the shadow, so the corner needs to be a little bit darker.
(painting)
And then push that
shadow.
(painting)
That shadow darker.
(painting)
Okay so I got Sara blocked in. I like the flow.
(painting)
I might, later I might adjust the color here.
This feels a little too strong.
(painting)
AUTO SCROLL
Okay so back from the break and
I'm gonna -
I'm gonna fix this part of the leg because like I said this shadow feels a little too heavy.
I really want to get to Ryder because,
like I said, he's still not - I still don't feel like
he works well with the whole painting yet. Oh I forgot to darken that background too
but let's get this laid down first.
(painting)
The leg feels like coming
towards us. I'm gonna -
(painting)
I'm gonna angle this edge out
more.
(painting)
I want a nice triangle here.
(painting)
Also want to
bring out this shadow to help
to bring this leg, also that leg out, towards me.
(painting)
Too dark.
Could have added some of this blue. I think it might be the reflected light from the roof
to which we have this white ceiling.
that kinda probably bounces some of this blue light.
(painting)
Small area like right there with the pelvis bone - usually you
probably get a darker core because again, quicker turn because the bone
here's more the muscle mass, it's gonna be a softer core and a
small area doesn't get much of light getting
bounced into that space. So usually
it's a little bit darker.
I need to reload I'm running out of
the burnt sienna.
(painting)
Actually
I need to reload raw sienna, I can reload red,
alizarin crimson, and my
transparent red oxide right here.
(painting)
Get some raw sienna and...
(painting)
Might need some more black because I know I want to darker that background.
(painting)
I'm just gonna
leave this paint here.
I might need it.
(painting)
I don't like this, I might change that.
(painting)
Okay let's work on Ryder.
(painting)
Get those half tones.
This part, turning that chest.
I wanna get that in there because that's where the flow comes in.
(painting)
That nipple is, like I said, a good landmark.
It gives you a sense of kinda axis.
It also gives you sense of like where the chest ends and then
how much torso coming out beside it.
(painting)
Again get that
warm reflected light on his face and you got some underneath his chin.
(painting)
Warm this up a little bit.
(painting)
I'm gonna get some of that warm reflected light in this -
on his chest.
(painting)
It's not strong enough because I need to make this
darker.
(painting)
Also here.
(painting)
This arm feels a little stiff. I'm gonna
get that.
(painting)
I want to open up
(painting)
this shape a little bit.
(painting)
Bring that light into this side.
(painting)
I don't like this triangle here it's kinda
points straight down. I want to shift it.
This. Going this way.
(painting)
Okay take a break.
I'm gonna -
I'm gonna fix this part of the leg because like I said this shadow feels a little too heavy.
I really want to get to Ryder because,
like I said, he's still not - I still don't feel like
he works well with the whole painting yet. Oh I forgot to darken that background too
but let's get this laid down first.
(painting)
The leg feels like coming
towards us. I'm gonna -
(painting)
I'm gonna angle this edge out
more.
(painting)
I want a nice triangle here.
(painting)
Also want to
bring out this shadow to help
to bring this leg, also that leg out, towards me.
(painting)
Too dark.
Could have added some of this blue. I think it might be the reflected light from the roof
to which we have this white ceiling.
that kinda probably bounces some of this blue light.
(painting)
Small area like right there with the pelvis bone - usually you
probably get a darker core because again, quicker turn because the bone
here's more the muscle mass, it's gonna be a softer core and a
small area doesn't get much of light getting
bounced into that space. So usually
it's a little bit darker.
I need to reload I'm running out of
the burnt sienna.
(painting)
Actually
I need to reload raw sienna, I can reload red,
alizarin crimson, and my
transparent red oxide right here.
(painting)
Get some raw sienna and...
(painting)
Might need some more black because I know I want to darker that background.
(painting)
I'm just gonna
leave this paint here.
I might need it.
(painting)
I don't like this, I might change that.
(painting)
Okay let's work on Ryder.
(painting)
Get those half tones.
This part, turning that chest.
I wanna get that in there because that's where the flow comes in.
(painting)
That nipple is, like I said, a good landmark.
It gives you a sense of kinda axis.
It also gives you sense of like where the chest ends and then
how much torso coming out beside it.
(painting)
Again get that
warm reflected light on his face and you got some underneath his chin.
(painting)
Warm this up a little bit.
(painting)
I'm gonna get some of that warm reflected light in this -
on his chest.
(painting)
It's not strong enough because I need to make this
darker.
(painting)
Also here.
(painting)
This arm feels a little stiff. I'm gonna
get that.
(painting)
I want to open up
(painting)
this shape a little bit.
(painting)
Bring that light into this side.
(painting)
I don't like this triangle here it's kinda
points straight down. I want to shift it.
This. Going this way.
(painting)
Okay take a break.
AUTO SCROLL
(painting)
My idea is not too
pop in not too much. Kinda darken him a little bit.
(painting)
I want to bring his arm in a little bit.
(painting)
Make this darker
orange.
(painting)
Okay let's darken that background.
(painting)
Use a softer brush,
that way you can see how I pick up the paint.
(painting)
I got these shadows
cast from Sara's head right here.
(painting)
I like that better. That flows better.
(painting)
One of the things I might want to do
(painting)
although this is
about right but I feel like he is kind of sinking in behind her.
But I don't want to feel like he's more of
rised up so I wanna see if I can somehow
like stretch him. Obviously I can't stretch the drawings,
I will see if I can maybe put in some of like the
darker shadow. For example you'll put a darker shadow
here and put the shadow more obviously more vertical
design. Maybe that can help to kind of bringing up
a little bit from Sara. Yeah. See I
think this probably is
my mistake at the beginning. I still wish I could have the forearm
Ryder that before, you know, Sara's head but I just kind of
have to kinda live with that now
I can't -
yeah. Even if I stretch this it's still not
enough space.
(painting)
See what I can do. Again it's all about balance.
So let's me see if I
open this a little bit.
(painting)
Just give some
light on that bicep towards Sara
(painting)
So I'm going to get him like - maybe this arm - I'm gonna feel like
is kinda wrapping around her a little bit so
in that case, then this will come
over.
(painting)
So I'm actually
gonna make this...
(painting)
That way I need to push in more of the bicep.
So I kinda trimmed the outside, I need to push in the
inside of his arm.
(painting)
I need to bring up
in this case I need to trim this.
(painting)
I still don't like that arm.
(painting)
Figure out how I'm gonna do this. I'm gonna take my paper towel.
(painting)
Because I already put so much
paint on it we're gonna just
reconstruct.
(painting)
I like some of that warm tone of the canvas kinda showing through.
(painting)
Keep this a little more
straight.
(painting)
Use some of the warm on his forehead.
I'm gonna also do this. Although I could paint over it but
I'm just gonna try it.
(painting)
Okay.
Let's see.
(painting)
Anyway let's take a break now I need to - actually at this point I
need to also step back and kinda analyze what's
next.
You know I like some of the things
going on and I also dislike some of the things happening so I'm gonna
take a break, again, step back, analyze it, and come back
and fix it.
My idea is not too
pop in not too much. Kinda darken him a little bit.
(painting)
I want to bring his arm in a little bit.
(painting)
Make this darker
orange.
(painting)
Okay let's darken that background.
(painting)
Use a softer brush,
that way you can see how I pick up the paint.
(painting)
I got these shadows
cast from Sara's head right here.
(painting)
I like that better. That flows better.
(painting)
One of the things I might want to do
(painting)
although this is
about right but I feel like he is kind of sinking in behind her.
But I don't want to feel like he's more of
rised up so I wanna see if I can somehow
like stretch him. Obviously I can't stretch the drawings,
I will see if I can maybe put in some of like the
darker shadow. For example you'll put a darker shadow
here and put the shadow more obviously more vertical
design. Maybe that can help to kind of bringing up
a little bit from Sara. Yeah. See I
think this probably is
my mistake at the beginning. I still wish I could have the forearm
Ryder that before, you know, Sara's head but I just kind of
have to kinda live with that now
I can't -
yeah. Even if I stretch this it's still not
enough space.
(painting)
See what I can do. Again it's all about balance.
So let's me see if I
open this a little bit.
(painting)
Just give some
light on that bicep towards Sara
(painting)
So I'm going to get him like - maybe this arm - I'm gonna feel like
is kinda wrapping around her a little bit so
in that case, then this will come
over.
(painting)
So I'm actually
gonna make this...
(painting)
That way I need to push in more of the bicep.
So I kinda trimmed the outside, I need to push in the
inside of his arm.
(painting)
I need to bring up
in this case I need to trim this.
(painting)
I still don't like that arm.
(painting)
Figure out how I'm gonna do this. I'm gonna take my paper towel.
(painting)
Because I already put so much
paint on it we're gonna just
reconstruct.
(painting)
I like some of that warm tone of the canvas kinda showing through.
(painting)
Keep this a little more
straight.
(painting)
Use some of the warm on his forehead.
I'm gonna also do this. Although I could paint over it but
I'm just gonna try it.
(painting)
Okay.
Let's see.
(painting)
Anyway let's take a break now I need to - actually at this point I
need to also step back and kinda analyze what's
next.
You know I like some of the things
going on and I also dislike some of the things happening so I'm gonna
take a break, again, step back, analyze it, and come back
and fix it.
AUTO SCROLL
Hey guys welcome back. So today actually it's
the second day of this two model set up
I'm painting and I did as much as I could on the first day.
And about we probably got to half way but there's still a lot more work
I want to be done. I actually took picture of the
set up and go home and I put some thoughts and thinking into,
you know, to see what I want to do today and so
let's see what - for sure I still need to work on the figure
and also what's the benefit of working the second day so the paint is a little bit dry
so hopefully there will be less glare because there was a lot of gray
it was hard to see, especially the background. And hopefully when the painting dries
it's gonna reduce some of the glare so I'm able to see it a little better. And the paint also
probably will lay onto the canvas a little better too.
So let's see. Models are you guys ready?
I might still wanna adjust Ryder's position so I'm still
not quite satisfied. I think Sara is okay but I think her hip
area, the leg, thigh area I still need to fix in terms of proportions.
There's not that much to do with the background and the red
cloth. And again like I said yesterday, I kinda like how the red cloth looks
but again if you see it today when it dried, it starts looking a little bit matte.
I think if I have time maybe I'll just touch up some intensity. If I don't I might just
leave it like this. I still can see some glare, strokes
of the background I'll see if I can.
For sure I know it's gonna be like a darker
background, have a little bit of the glow around him.
So let's work on Ryder first because
that's something I wanted to spend some time to it.
(painting)
Obviously when I'm working in my studio
the painting that takes more to do
and, you know, sometimes the way you tell the painting is dry and
rework on it and usually what I'll do if I'm working off
a dry painting, this is not dry so
I would actually - I can wash,
you can wash the whole thing with the gamsol or I'll put
the refined linseed oil and add some part of the
gamsol and I will also kinda wash the whole thing
so it's again activate the canvas so you can still get that wet in wet.
Otherwise you're gonna be kinda working dry and dry.
I kinda like the wet in wet so you can get more of the softer edges.
That's the way, you know, to go. You can - yeah this is still wet.
You can wash the whole thing with the medium.
(painting)
I'm gonna make the half tone a little bit darker.
(painting)
This orange is really rich, it gets bleached
out on the top a little bit. Still quite yellow, I might not gonna do that yellow,
still gonna feel kind of a bit too artificial. I might
do a cooler on top and just more warmer at the bottom.
(painting)
Fade that into the forearm.
(painting)
I wanna refine some landmarks like
where is that collarbone right there because the paint is dry, see how this feels
like it's kinda just dry brush over it.
I want to -
actually I wish to be a little bit wetter but it's
okay.
(painting)
You know refining these shapes, refining the
light and dark shapes.
I see a little gray at the half tone so I added
a little bit of black into my half tone.
(painting)
Get a little bit darker.
(painting)
Here definitely can
feel that, you can see that gray.
(painting)
I feel like here's a little bit warmer. This shadow
right here.
And I wanna get this shadow on his bicep looks
a little hard to tell, got some reflective light off the bounced light
off the rest so lets make it redder.
Let's push it a little more.
(painting)
And the bicep turns down and then turns
into the deeper, darker shadows.
(painting)
Coming in there, his hand comes up.
His hand might need to come down a little bit more. Oops.
(painting)
Can be even more
warmer.
(painting)
Need to establish that shadow underneath his armpit, it's quite warm
but it's also very dark.
So use black, burnt sienna, and some of the red.
(painting)
I wanna open this a little bit.
(painting)
It's a little too cool, let's warm it up
a little bit.
So you got a highlight right here, which that's where the central
light and I'm just gonna bleach out right there. You got light hitting on the side plane,
everything turns down, this way gets a little darker.
(painting)
Feel a little green too, I can add a little bit of green.
Again just to play with the temperature
a little bit.
(painting)
A little too dark.
I wanna feel this egg right in here.
(painting)
See here's the highlight.
(painting)
Let's give a - let's
push,
reestablishing those shadows.
(painting)
I want, again, I still wanna make sure my gestures, how this shadow flows into
her and how this arm wraps around.
(painting)
Gonna cut -
I'm gonna trim this shadow a little bit.
(painting)
About right here here.
(painting)
Core shadow, reflected light, cast shadow.
(painting)
I'm gonna drop this out into the shadow again, into the dark.
(painting)
Because I need to - later I need to refine his arm because right now I'm basically
trimming down his torso.
(painting)
That feels a little straight. Curve that.
(painting)
I want to curve this too.
Well actually I can just
use the background color.
(painting)
Cut in with the background color.
(painting)
I'm gonna - later I'm gonna fix
Sara's pelvis. But I do need to show that elbow.
(painting)
Step back and check. Again I need to make sure every shape
that flows.
(painting)
See I
brings up to this deltoid.
(painting)
It's good
to overpaint, like paint too dark or too far and then we can come back
and trim.
That way you get a better edge.
(painting)
Again paint too much.
(painting)
And then we can come back and...
(painting)
The forehead is really warm.
(painting)
When turned to the side I usually make it a little bit cooler.
(painting)
Reestablish his eye socket.
(painting)
Let's take a break.
the second day of this two model set up
I'm painting and I did as much as I could on the first day.
And about we probably got to half way but there's still a lot more work
I want to be done. I actually took picture of the
set up and go home and I put some thoughts and thinking into,
you know, to see what I want to do today and so
let's see what - for sure I still need to work on the figure
and also what's the benefit of working the second day so the paint is a little bit dry
so hopefully there will be less glare because there was a lot of gray
it was hard to see, especially the background. And hopefully when the painting dries
it's gonna reduce some of the glare so I'm able to see it a little better. And the paint also
probably will lay onto the canvas a little better too.
So let's see. Models are you guys ready?
I might still wanna adjust Ryder's position so I'm still
not quite satisfied. I think Sara is okay but I think her hip
area, the leg, thigh area I still need to fix in terms of proportions.
There's not that much to do with the background and the red
cloth. And again like I said yesterday, I kinda like how the red cloth looks
but again if you see it today when it dried, it starts looking a little bit matte.
I think if I have time maybe I'll just touch up some intensity. If I don't I might just
leave it like this. I still can see some glare, strokes
of the background I'll see if I can.
For sure I know it's gonna be like a darker
background, have a little bit of the glow around him.
So let's work on Ryder first because
that's something I wanted to spend some time to it.
(painting)
Obviously when I'm working in my studio
the painting that takes more to do
and, you know, sometimes the way you tell the painting is dry and
rework on it and usually what I'll do if I'm working off
a dry painting, this is not dry so
I would actually - I can wash,
you can wash the whole thing with the gamsol or I'll put
the refined linseed oil and add some part of the
gamsol and I will also kinda wash the whole thing
so it's again activate the canvas so you can still get that wet in wet.
Otherwise you're gonna be kinda working dry and dry.
I kinda like the wet in wet so you can get more of the softer edges.
That's the way, you know, to go. You can - yeah this is still wet.
You can wash the whole thing with the medium.
(painting)
I'm gonna make the half tone a little bit darker.
(painting)
This orange is really rich, it gets bleached
out on the top a little bit. Still quite yellow, I might not gonna do that yellow,
still gonna feel kind of a bit too artificial. I might
do a cooler on top and just more warmer at the bottom.
(painting)
Fade that into the forearm.
(painting)
I wanna refine some landmarks like
where is that collarbone right there because the paint is dry, see how this feels
like it's kinda just dry brush over it.
I want to -
actually I wish to be a little bit wetter but it's
okay.
(painting)
You know refining these shapes, refining the
light and dark shapes.
I see a little gray at the half tone so I added
a little bit of black into my half tone.
(painting)
Get a little bit darker.
(painting)
Here definitely can
feel that, you can see that gray.
(painting)
I feel like here's a little bit warmer. This shadow
right here.
And I wanna get this shadow on his bicep looks
a little hard to tell, got some reflective light off the bounced light
off the rest so lets make it redder.
Let's push it a little more.
(painting)
And the bicep turns down and then turns
into the deeper, darker shadows.
(painting)
Coming in there, his hand comes up.
His hand might need to come down a little bit more. Oops.
(painting)
Can be even more
warmer.
(painting)
Need to establish that shadow underneath his armpit, it's quite warm
but it's also very dark.
So use black, burnt sienna, and some of the red.
(painting)
I wanna open this a little bit.
(painting)
It's a little too cool, let's warm it up
a little bit.
So you got a highlight right here, which that's where the central
light and I'm just gonna bleach out right there. You got light hitting on the side plane,
everything turns down, this way gets a little darker.
(painting)
Feel a little green too, I can add a little bit of green.
Again just to play with the temperature
a little bit.
(painting)
A little too dark.
I wanna feel this egg right in here.
(painting)
See here's the highlight.
(painting)
Let's give a - let's
push,
reestablishing those shadows.
(painting)
I want, again, I still wanna make sure my gestures, how this shadow flows into
her and how this arm wraps around.
(painting)
Gonna cut -
I'm gonna trim this shadow a little bit.
(painting)
About right here here.
(painting)
Core shadow, reflected light, cast shadow.
(painting)
I'm gonna drop this out into the shadow again, into the dark.
(painting)
Because I need to - later I need to refine his arm because right now I'm basically
trimming down his torso.
(painting)
That feels a little straight. Curve that.
(painting)
I want to curve this too.
Well actually I can just
use the background color.
(painting)
Cut in with the background color.
(painting)
I'm gonna - later I'm gonna fix
Sara's pelvis. But I do need to show that elbow.
(painting)
Step back and check. Again I need to make sure every shape
that flows.
(painting)
See I
brings up to this deltoid.
(painting)
It's good
to overpaint, like paint too dark or too far and then we can come back
and trim.
That way you get a better edge.
(painting)
Again paint too much.
(painting)
And then we can come back and...
(painting)
The forehead is really warm.
(painting)
When turned to the side I usually make it a little bit cooler.
(painting)
Reestablish his eye socket.
(painting)
Let's take a break.
AUTO SCROLL
Okay.
(painting)
I still wanna get that shadow
flows - kinda flows nicely.
(painting)
Get down here gets very
warm.
(painting)
Again the paint is kinda dry
on his face because
I have used a lot of white and the white dries kinda fast.
These earthy colors too.
(painting)
Open up this
brow ridge right here.
(painting)
Let's open that
forehead a little more.
(painting)
There we go. Let's open up this
light side on his face.
Probably need to
darken that shadow. Probably not dark enough.
(painting)
All the shadows on this side of his
forehead got a little too dark.
(painting)
(painting)
I still wanna get that shadow
flows - kinda flows nicely.
(painting)
Get down here gets very
warm.
(painting)
Again the paint is kinda dry
on his face because
I have used a lot of white and the white dries kinda fast.
These earthy colors too.
(painting)
Open up this
brow ridge right here.
(painting)
Let's open that
forehead a little more.
(painting)
There we go. Let's open up this
light side on his face.
Probably need to
darken that shadow. Probably not dark enough.
(painting)
All the shadows on this side of his
forehead got a little too dark.
(painting)
AUTO SCROLL
Actually I just looked at the painting from the
about 10 feet away. It actually looks not bad. It's actually
better than I thought. So I think we can just keep going. One thing I do notice
I think my elbow is too low. I'd rather to have the forearm much
longer than his upper arm because again I want to get a foreshortening so I need to fix that.
(painting)
So I'll just
do that
now so again I'm gonna mix the background
color
to see if I can trim a little, this elbow, higher.
(painting)
Still
that bottom part
here right that sternocleidomastoid
muscle has a lot of orange.
(painting)
Here we got some
orange too, this lower part of the cheek.
(painting)
Fix that hair.
(painting)
Actually looks like - okay
it looks like this part rounds it off, like come
in kicks it like this.
(painting)
Get me some of the
darker shadows within the eye socket.
(painting)
This side as well.
(painting)
I'm using alizarin
crimson and black. I want a nice, deep, rich red.
(painting)
How that merges into the shadow on the center of the nose.
(painting)
Let's darken the cast shadow below his nose.
Sometimes you know on the set up you can't
full - based on the set up it's just not enough, first of all it's
not enough contrast, not enough interest. You just really have to push, you know,
push -
make the dark, darker so you can
make the light seem lighter. You don't establish the dark, it ends up you just keep adding white
you know to lighten things up and then your light is gonna start feeling - you're
gonna lose the color in the light side, you're gonna lose the taste of it.
(painting)
The outcome I want the painting to be against still
more of almost like a color comp but just
in a larger format. So I don't wanna get it too tight and
so now I'm just drawing
the eyes, the eye brow and the eyes, just give me a sense of where the
placement. But what I want is more of that overall
socket.
(painting)
So I got my - I just wanted to
(painting)
give the
best impression of the set up.
(painting)
I'll raise up Sara's hip because I raised up
Ryder's elbow, I have to raise up Sara's hip
so again I can still get this flow.
(painting)
Let me
(painting)
darken Ryder's arm because I know it's darker.
(painting)
Take - put in some of the warm and it's kinda
softer the blending a little bit.
(painting)
Okay we'll come back to this.
about 10 feet away. It actually looks not bad. It's actually
better than I thought. So I think we can just keep going. One thing I do notice
I think my elbow is too low. I'd rather to have the forearm much
longer than his upper arm because again I want to get a foreshortening so I need to fix that.
(painting)
So I'll just
do that
now so again I'm gonna mix the background
color
to see if I can trim a little, this elbow, higher.
(painting)
Still
that bottom part
here right that sternocleidomastoid
muscle has a lot of orange.
(painting)
Here we got some
orange too, this lower part of the cheek.
(painting)
Fix that hair.
(painting)
Actually looks like - okay
it looks like this part rounds it off, like come
in kicks it like this.
(painting)
Get me some of the
darker shadows within the eye socket.
(painting)
This side as well.
(painting)
I'm using alizarin
crimson and black. I want a nice, deep, rich red.
(painting)
How that merges into the shadow on the center of the nose.
(painting)
Let's darken the cast shadow below his nose.
Sometimes you know on the set up you can't
full - based on the set up it's just not enough, first of all it's
not enough contrast, not enough interest. You just really have to push, you know,
push -
make the dark, darker so you can
make the light seem lighter. You don't establish the dark, it ends up you just keep adding white
you know to lighten things up and then your light is gonna start feeling - you're
gonna lose the color in the light side, you're gonna lose the taste of it.
(painting)
The outcome I want the painting to be against still
more of almost like a color comp but just
in a larger format. So I don't wanna get it too tight and
so now I'm just drawing
the eyes, the eye brow and the eyes, just give me a sense of where the
placement. But what I want is more of that overall
socket.
(painting)
So I got my - I just wanted to
(painting)
give the
best impression of the set up.
(painting)
I'll raise up Sara's hip because I raised up
Ryder's elbow, I have to raise up Sara's hip
so again I can still get this flow.
(painting)
Let me
(painting)
darken Ryder's arm because I know it's darker.
(painting)
Take - put in some of the warm and it's kinda
softer the blending a little bit.
(painting)
Okay we'll come back to this.
AUTO SCROLL
(painting)
Just wanna simplify the shapes here.
(painting)
That's better.
(painting)
Okay what I don't like
now still I feel - see how this distance feels a little too even?
It doesn't get a sense of his turning
away from us.
(painting)
Reduce some of that size.
(painting)
Make that, her knee, a bit warmer.
(painting)
Open this.
(painting)
That's better.
(painting)
I actually like what I'm seeing
now. I think yesterday I just had a small cast shadow but now this
whole upper thigh is cast in a shadow
I kinda like that. I'm just gonna block that in.
(painting)
Actually it's easier to.
Because it was that tricky to have
portion of light, that little bit of portion of light and yesterday I spent some
time trying to figure out that balance but now it's actually easier
all in the shadows.
(painting)
This part is still really intense.
(painting)
Show more of the reflected light, I
put the core in but now it's not making that area too
dark.
(painting)
Feels a little greener because maybe it's a little more width from the
light. So I'll push that green.
(painting)
Especially where that beginning of the thigh meets that
hip.
(painting)
And the light comes
over here and hits.
(painting)
Just gonna push
the -
(painting)
push this a little more.
(painting)
Also worry that knee, that top of the knee.
(painting)
Some yellow
reflected light in there.
(painting)
Here's the side of her stomach.
She gets some of the half tone. This kinda warm yellow.
(painting)
Again the highlight sits right here.
(painting)
Push some of the orange
in her.
(painting)
It got a little bit
greener here.
(painting)
It's almost like I'm glazing color over the white I put down
yesterday. It adds also one of the techniques
called glazing, what Rembrandt does,
some of the Renaissance artists will do that too because they have limited
palette colors at that time so they would just usually focus
on the value and really blast out the white and use the white as a light.
And so they would overpaint the light
using a lot of white paint make it really thick. And then they would come back
and glaze a color like a watercolor - almost like a watercolor
put a wash. And so everything
start key to that color and you still have that strong light
that blasts underneath.
(painting)
See it's a little bit of green
in there.
(painting)
Top of her breast.
(painting)
And then kinda just merge into that
orange.
(painting)
I don't wanna -
I think this doesn't quite look nice.
(painting)
Put some yellow in that light.
It feels a little too bleached out.
(painting)
Lighter right here at the pelvis.
(painting)
Again I'm always constantly aware of the silhouette.
Design of the silhouette.
(painting)
That should be darker because I need that to separate from that
light torso so that might be a little too light, let's darken that.
(painting)
That's better.
(painting)
Got these nice, rich, dark shadows.
(painting)
That might be too
warm. I'll see when we get back, I'll just try things out I think
that might be a little too warm.
(painting)
Just wanna simplify the shapes here.
(painting)
That's better.
(painting)
Okay what I don't like
now still I feel - see how this distance feels a little too even?
It doesn't get a sense of his turning
away from us.
(painting)
Reduce some of that size.
(painting)
Make that, her knee, a bit warmer.
(painting)
Open this.
(painting)
That's better.
(painting)
I actually like what I'm seeing
now. I think yesterday I just had a small cast shadow but now this
whole upper thigh is cast in a shadow
I kinda like that. I'm just gonna block that in.
(painting)
Actually it's easier to.
Because it was that tricky to have
portion of light, that little bit of portion of light and yesterday I spent some
time trying to figure out that balance but now it's actually easier
all in the shadows.
(painting)
This part is still really intense.
(painting)
Show more of the reflected light, I
put the core in but now it's not making that area too
dark.
(painting)
Feels a little greener because maybe it's a little more width from the
light. So I'll push that green.
(painting)
Especially where that beginning of the thigh meets that
hip.
(painting)
And the light comes
over here and hits.
(painting)
Just gonna push
the -
(painting)
push this a little more.
(painting)
Also worry that knee, that top of the knee.
(painting)
Some yellow
reflected light in there.
(painting)
Here's the side of her stomach.
She gets some of the half tone. This kinda warm yellow.
(painting)
Again the highlight sits right here.
(painting)
Push some of the orange
in her.
(painting)
It got a little bit
greener here.
(painting)
It's almost like I'm glazing color over the white I put down
yesterday. It adds also one of the techniques
called glazing, what Rembrandt does,
some of the Renaissance artists will do that too because they have limited
palette colors at that time so they would just usually focus
on the value and really blast out the white and use the white as a light.
And so they would overpaint the light
using a lot of white paint make it really thick. And then they would come back
and glaze a color like a watercolor - almost like a watercolor
put a wash. And so everything
start key to that color and you still have that strong light
that blasts underneath.
(painting)
See it's a little bit of green
in there.
(painting)
Top of her breast.
(painting)
And then kinda just merge into that
orange.
(painting)
I don't wanna -
I think this doesn't quite look nice.
(painting)
Put some yellow in that light.
It feels a little too bleached out.
(painting)
Lighter right here at the pelvis.
(painting)
Again I'm always constantly aware of the silhouette.
Design of the silhouette.
(painting)
That should be darker because I need that to separate from that
light torso so that might be a little too light, let's darken that.
(painting)
That's better.
(painting)
Got these nice, rich, dark shadows.
(painting)
That might be too
warm. I'll see when we get back, I'll just try things out I think
that might be a little too warm.
(painting)
AUTO SCROLL
(painting)
Just wanna simplify the shapes here.
(painting)
That's better.
(painting)
Okay what I don't like
now still I feel - see how this distance feels a little too even?
It doesn't get a sense of his turning
away from us.
(painting)
Reduce some of that size.
(painting)
Make that, her knee, a bit warmer.
(painting)
Open this.
(painting)
That's better.
(painting)
I actually like what I'm seeing
now. I think yesterday I just had a small cast shadow but now this
whole upper thigh is cast in a shadow
I kinda like that. I'm just gonna block that in.
(painting)
Actually it's easier to.
Because it was that tricky to have
portion of light, that little bit of portion of light and yesterday I spent some
time trying to figure out that balance but now it's actually easier
all in the shadows.
(painting)
This part is still really intense.
(painting)
Show more of the reflected light, I
put the core in but now it's not making that area too
dark.
(painting)
Feels a little greener because maybe it's a little more width from the
light. So I'll push that green.
(painting)
Especially where that beginning of the thigh meets that
hip.
(painting)
And the light comes
over here and hits.
(painting)
Just gonna push
the -
(painting)
push this a little more.
(painting)
Also worry that knee, that top of the knee.
(painting)
Some yellow
reflected light in there.
(painting)
Here's the side of her stomach.
She gets some of the half tone. This kinda warm yellow.
(painting)
Again the highlight sits right here.
(painting)
Push some of the orange
in her.
(painting)
It got a little bit
greener here.
(painting)
It's almost like I'm glazing color over the white I put down
yesterday. It adds also one of the techniques
called glazing, what Rembrandt does,
some of the Renaissance artists will do that too because they have limited
palette colors at that time so they would just usually focus
on the value and really blast out the white and use the white as a light.
And so they would overpaint the light
using a lot of white paint make it really thick. And then they would come back
and glaze a color like a watercolor - almost like a watercolor
put a wash. And so everything
start key to that color and you still have that strong light
that blasts underneath.
(painting)
See it's a little bit of green
in there.
(painting)
Top of her breast.
(painting)
And then kinda just merge into that
orange.
(painting)
I don't wanna -
I think this doesn't quite look nice.
(painting)
Put some yellow in that light.
It feels a little too bleached out.
(painting)
Lighter right here at the pelvis.
(painting)
Again I'm always constantly aware of the silhouette.
Design of the silhouette.
(painting)
That should be darker because I need that to separate from that
light torso so that might be a little too light, let's darken that.
(painting)
That's better.
(painting)
Got these nice, rich, dark shadows.
(painting)
That might be too
warm. I'll see when we get back, I'll just try things out I think
that might be a little too warm.
(painting)
Just wanna simplify the shapes here.
(painting)
That's better.
(painting)
Okay what I don't like
now still I feel - see how this distance feels a little too even?
It doesn't get a sense of his turning
away from us.
(painting)
Reduce some of that size.
(painting)
Make that, her knee, a bit warmer.
(painting)
Open this.
(painting)
That's better.
(painting)
I actually like what I'm seeing
now. I think yesterday I just had a small cast shadow but now this
whole upper thigh is cast in a shadow
I kinda like that. I'm just gonna block that in.
(painting)
Actually it's easier to.
Because it was that tricky to have
portion of light, that little bit of portion of light and yesterday I spent some
time trying to figure out that balance but now it's actually easier
all in the shadows.
(painting)
This part is still really intense.
(painting)
Show more of the reflected light, I
put the core in but now it's not making that area too
dark.
(painting)
Feels a little greener because maybe it's a little more width from the
light. So I'll push that green.
(painting)
Especially where that beginning of the thigh meets that
hip.
(painting)
And the light comes
over here and hits.
(painting)
Just gonna push
the -
(painting)
push this a little more.
(painting)
Also worry that knee, that top of the knee.
(painting)
Some yellow
reflected light in there.
(painting)
Here's the side of her stomach.
She gets some of the half tone. This kinda warm yellow.
(painting)
Again the highlight sits right here.
(painting)
Push some of the orange
in her.
(painting)
It got a little bit
greener here.
(painting)
It's almost like I'm glazing color over the white I put down
yesterday. It adds also one of the techniques
called glazing, what Rembrandt does,
some of the Renaissance artists will do that too because they have limited
palette colors at that time so they would just usually focus
on the value and really blast out the white and use the white as a light.
And so they would overpaint the light
using a lot of white paint make it really thick. And then they would come back
and glaze a color like a watercolor - almost like a watercolor
put a wash. And so everything
start key to that color and you still have that strong light
that blasts underneath.
(painting)
See it's a little bit of green
in there.
(painting)
Top of her breast.
(painting)
And then kinda just merge into that
orange.
(painting)
I don't wanna -
I think this doesn't quite look nice.
(painting)
Put some yellow in that light.
It feels a little too bleached out.
(painting)
Lighter right here at the pelvis.
(painting)
Again I'm always constantly aware of the silhouette.
Design of the silhouette.
(painting)
That should be darker because I need that to separate from that
light torso so that might be a little too light, let's darken that.
(painting)
That's better.
(painting)
Got these nice, rich, dark shadows.
(painting)
That might be too
warm. I'll see when we get back, I'll just try things out I think
that might be a little too warm.
(painting)
AUTO SCROLL
One of the tricky things about painting is a lot of times when you step
back the painting sometimes can look totally different.
When I step back I feel like if I just keep it light like
that on Sara's lower part of the face sometimes you can feel it's a little
chubby and - or you know what or maybe it's
this stroke is too wide, I need to come back in and trim that shadow
to make her face a little thinner.
(painting)
I just do that. It's nice,
it's better because it kinda rounds up, it gives you a sense of where the
bottom plane is gonna be a little bit warmer.
(painting)
I need
just a little dab of separations.
Like that. For the jaw and the
neck but I don't like this too.
(painting)
Like here, the front a little bit darker.
Front plane and her bottom, this part, I want to make it - also make it a little bit darker.
(painting)
Oops. A little too gray.
I felt. Let's make this.
(painting)
Again the light hits underneath but it's a warmer chin.
(painting)
Shadow feels a little bit straight.
(painting)
Gonna run it off a little bit. Can be right at the
corner there's a front and a bottom side of the corner,
let's give a little bit of some highlights.
(painting)
Right here.
Here it got a lot of light right here, that's kind of a little channel, goes in, comes up.
So here gets a lot of light.
(painting)
I wanna make it slightly cooler, add a little bit of that blue.
(painting)
And then when you come over here it gets - just turns orange.
(painting)
I'll bring that shadow into the next,
feel like it's besides connecting to the neck, helps flow,
give a sense of that pinch.
(painting)
Like I said, I don't like that lip.
Clean it up
a little bit.
(painting)
I'm gonna make it a little bit warmer than I see it.
(painting)
Again a lot of times when
I make a red darker I just add that burnt sienna, you still get that nice, rich red.
(painting)
But again this - never just one
combination. I can make the red darker by adding
any of these. Ultramarine blue, alizarin crimson.
Just sometimes it's just like a shortcut I wanna just
you know, I just instead, you know,
play around I just wanna get there quicker and just go to
my routine.
(painting)
But if you have time to play around and experiment, like I said try different
combinations.
(painting)
Again the face turns to the side, gets a little darker.
(painting)
In this case turns
to the front, gets a little bit pinker.
(painting)
There's some yellow light here too.
It's got this big
strokes. Okay let's move
to her body.
(painting)
Thicken this shadow on the
breast so it can feel like kinda hang over.
(painting)
Push it harder.
Just leave that stroke there and then one more step down.
(painting)
Her hand is warmer.
(painting)
Do that for now.
(painting)
I want to
(painting)
soften this a little bit.
(painting)
Again just
that rib, that arch of the ribcage. The top of it
that cast shadow because light is coming from underneath.
(painting)
Might be a little too dark.
(painting)
Again always push a little too much.
Think about the planes.
(painting)
I want more orange, turn to this
more golden color. Let's push that orange a little bit
to see if I can get some orange in there.
(painting)
Whoops.
(painting)
Don't get it too light, I want a little bit of a half tone.
Here we go.
(painting)
Here, this part
arch of the ribcage.
One more step.
(painting)
I want to make here a little bit darker so I can make the
bottom of that ribcage feels, you know, feels lighter.
(painting)
I need to
make the hand here darker, separate from the breast right there.
(painting)
Also here, at the bottom of this
breast is pretty bright.
(painting)
I need to make this hand darker.
(painting)
Separate from that.
(painting)
Let's get this arm in there.
(painting)
Shoulder
got a little too high, let's mix the background color and trim it down a little bit.
(painting)
So make it a little bit more orange. I kinda purposefully
made this lighter so I can make the forearm feeling darker and
more orange.
So you can see that contrast.
(painting)
I'll set that nipple more in the light so that
I don't wanna make it too dark.
(painting)
Could be darker - a little bit darker than that.
(painting)
I don't like this arm and the upper deltoid doesn't separate.
So I need to make this darker.
Maybe too warm,
add a little bit of green. Oh what the heck always add green, let's
add this cerulean blue.
So make them separate.
(painting)
The corner
top, and side is where the highlight.
(painting)
Make it
dirty forearm
for Ryder, like intense. I wanna make
it really dark, just separation from Sara's torso.
(painting)
Looks like there's some
strong shadows right here, I'm just gonna
dab some of those darker
shadows in there to create some
contrast. I'm gonna use the
nice and most richest alizarin crimson.
(painting)
Put something there first.
(painting)
See how black - this is not really a good choice, you know, it looks so
black. I need to warm that
up with that red a little bit but it does help me to get that core.
(painting)
But it can work below that.
(painting)
Just give it an arch, break out that
flatness.
(painting)
This side darker
again all this you can use.
(painting)
Again think of compositions. All the strokes you
put down. Composition
has to do with composition purpose.
(painting)
Lighter and darker.
(painting)
So probably give it a little yellow right here because that's where the light source hits.
So probably gonna be somewhere in this
area here. Not so much there.
(painting)
I guess let's take a break.
Let me step back and I'll see how this looks.
Is it gonna shock me when I step back.
back the painting sometimes can look totally different.
When I step back I feel like if I just keep it light like
that on Sara's lower part of the face sometimes you can feel it's a little
chubby and - or you know what or maybe it's
this stroke is too wide, I need to come back in and trim that shadow
to make her face a little thinner.
(painting)
I just do that. It's nice,
it's better because it kinda rounds up, it gives you a sense of where the
bottom plane is gonna be a little bit warmer.
(painting)
I need
just a little dab of separations.
Like that. For the jaw and the
neck but I don't like this too.
(painting)
Like here, the front a little bit darker.
Front plane and her bottom, this part, I want to make it - also make it a little bit darker.
(painting)
Oops. A little too gray.
I felt. Let's make this.
(painting)
Again the light hits underneath but it's a warmer chin.
(painting)
Shadow feels a little bit straight.
(painting)
Gonna run it off a little bit. Can be right at the
corner there's a front and a bottom side of the corner,
let's give a little bit of some highlights.
(painting)
Right here.
Here it got a lot of light right here, that's kind of a little channel, goes in, comes up.
So here gets a lot of light.
(painting)
I wanna make it slightly cooler, add a little bit of that blue.
(painting)
And then when you come over here it gets - just turns orange.
(painting)
I'll bring that shadow into the next,
feel like it's besides connecting to the neck, helps flow,
give a sense of that pinch.
(painting)
Like I said, I don't like that lip.
Clean it up
a little bit.
(painting)
I'm gonna make it a little bit warmer than I see it.
(painting)
Again a lot of times when
I make a red darker I just add that burnt sienna, you still get that nice, rich red.
(painting)
But again this - never just one
combination. I can make the red darker by adding
any of these. Ultramarine blue, alizarin crimson.
Just sometimes it's just like a shortcut I wanna just
you know, I just instead, you know,
play around I just wanna get there quicker and just go to
my routine.
(painting)
But if you have time to play around and experiment, like I said try different
combinations.
(painting)
Again the face turns to the side, gets a little darker.
(painting)
In this case turns
to the front, gets a little bit pinker.
(painting)
There's some yellow light here too.
It's got this big
strokes. Okay let's move
to her body.
(painting)
Thicken this shadow on the
breast so it can feel like kinda hang over.
(painting)
Push it harder.
Just leave that stroke there and then one more step down.
(painting)
Her hand is warmer.
(painting)
Do that for now.
(painting)
I want to
(painting)
soften this a little bit.
(painting)
Again just
that rib, that arch of the ribcage. The top of it
that cast shadow because light is coming from underneath.
(painting)
Might be a little too dark.
(painting)
Again always push a little too much.
Think about the planes.
(painting)
I want more orange, turn to this
more golden color. Let's push that orange a little bit
to see if I can get some orange in there.
(painting)
Whoops.
(painting)
Don't get it too light, I want a little bit of a half tone.
Here we go.
(painting)
Here, this part
arch of the ribcage.
One more step.
(painting)
I want to make here a little bit darker so I can make the
bottom of that ribcage feels, you know, feels lighter.
(painting)
I need to
make the hand here darker, separate from the breast right there.
(painting)
Also here, at the bottom of this
breast is pretty bright.
(painting)
I need to make this hand darker.
(painting)
Separate from that.
(painting)
Let's get this arm in there.
(painting)
Shoulder
got a little too high, let's mix the background color and trim it down a little bit.
(painting)
So make it a little bit more orange. I kinda purposefully
made this lighter so I can make the forearm feeling darker and
more orange.
So you can see that contrast.
(painting)
I'll set that nipple more in the light so that
I don't wanna make it too dark.
(painting)
Could be darker - a little bit darker than that.
(painting)
I don't like this arm and the upper deltoid doesn't separate.
So I need to make this darker.
Maybe too warm,
add a little bit of green. Oh what the heck always add green, let's
add this cerulean blue.
So make them separate.
(painting)
The corner
top, and side is where the highlight.
(painting)
Make it
dirty forearm
for Ryder, like intense. I wanna make
it really dark, just separation from Sara's torso.
(painting)
Looks like there's some
strong shadows right here, I'm just gonna
dab some of those darker
shadows in there to create some
contrast. I'm gonna use the
nice and most richest alizarin crimson.
(painting)
Put something there first.
(painting)
See how black - this is not really a good choice, you know, it looks so
black. I need to warm that
up with that red a little bit but it does help me to get that core.
(painting)
But it can work below that.
(painting)
Just give it an arch, break out that
flatness.
(painting)
This side darker
again all this you can use.
(painting)
Again think of compositions. All the strokes you
put down. Composition
has to do with composition purpose.
(painting)
Lighter and darker.
(painting)
So probably give it a little yellow right here because that's where the light source hits.
So probably gonna be somewhere in this
area here. Not so much there.
(painting)
I guess let's take a break.
Let me step back and I'll see how this looks.
Is it gonna shock me when I step back.
AUTO SCROLL
Okay so I just came back from the break. I think what I'm gonna do because it's hard to read
on the background, I'm just gonna lighten up a step and make it all
brown so I can actually able to see the color. I think
that is gonna probably work better. Then I will try to see if I can get
the gradations going. But right now I just rather have
a flat color so I can really see the relationships.
(painting)
That would be too light.
(painting)
Looks warmer up there.
(painting)
Let's try that.
(painting)
A little bit warmer.
(painting)
Keep this flat.
(painting)
Make this one more notch
lighter.
(painting)
I feel like
here gets a little bit warmer. Maybe it's the red bounce. So let's just add
a little bit of red.
(painting)
Don't forget the local color which is
brown, so it's not just red, it's brown red.
(painting)
A little bit lighter.
(painting)
Some of the paint drips down because it's too much gamsol
in there.
(painting)
Now I see
you know still got a lot of glare
but let's work somewhere else.
Now I don't like this here, the cast
shadow on Sara. I'm gonna calm that down
the shape looks a little too hard.
(painting)
I'm gonna bring Sara's arm a little higher.
(painting)
Because I want to level to her hip a little bit. And I can even raise
up the hip higher in that case.
(painting)
I wanna check to see - I don't wanna make her thigh to
feel too big.
(painting)
In that case I wanna move this up.
(painting)
Give a stronger overlap.
(painting)
So bring this
little bit wider.
(painting)
Feel a little green so add a little bit of green.
(painting)
Just wanna make sure this thigh has to separate.
(painting)
Here I got a little pink.
(painting)
Gonna be a little stronger.
(painting)
I'm gonna push that even more. That shadow.
(painting)
Make that top plane a little bit lighter so we feel like we see some light.
(painting)
Shift to green a little bit.
(painting)
I want that red to flow to this
red here.
Turning to
(painting)
yellow.
Turning to green.
(painting)
The half tone looks like it's getting some of that brown
of the background.
(painting)
So when you get away it gets a little
cooler
and some brown and blue and some burnt umber and some blue.
(painting)
Maybe a little bit lighter.
But I want to keep it cool.
(painting)
That a little higher, on this hand kinda flow up to the thigh.
(painting)
And now that tells me - that tells me, the lightest, that tells me
this is not dark enough.
(painting)
Always be aware how you shape your leg, how this now how that
relates to this arm here.
(painting)
Okay let's take a break.
on the background, I'm just gonna lighten up a step and make it all
brown so I can actually able to see the color. I think
that is gonna probably work better. Then I will try to see if I can get
the gradations going. But right now I just rather have
a flat color so I can really see the relationships.
(painting)
That would be too light.
(painting)
Looks warmer up there.
(painting)
Let's try that.
(painting)
A little bit warmer.
(painting)
Keep this flat.
(painting)
Make this one more notch
lighter.
(painting)
I feel like
here gets a little bit warmer. Maybe it's the red bounce. So let's just add
a little bit of red.
(painting)
Don't forget the local color which is
brown, so it's not just red, it's brown red.
(painting)
A little bit lighter.
(painting)
Some of the paint drips down because it's too much gamsol
in there.
(painting)
Now I see
you know still got a lot of glare
but let's work somewhere else.
Now I don't like this here, the cast
shadow on Sara. I'm gonna calm that down
the shape looks a little too hard.
(painting)
I'm gonna bring Sara's arm a little higher.
(painting)
Because I want to level to her hip a little bit. And I can even raise
up the hip higher in that case.
(painting)
I wanna check to see - I don't wanna make her thigh to
feel too big.
(painting)
In that case I wanna move this up.
(painting)
Give a stronger overlap.
(painting)
So bring this
little bit wider.
(painting)
Feel a little green so add a little bit of green.
(painting)
Just wanna make sure this thigh has to separate.
(painting)
Here I got a little pink.
(painting)
Gonna be a little stronger.
(painting)
I'm gonna push that even more. That shadow.
(painting)
Make that top plane a little bit lighter so we feel like we see some light.
(painting)
Shift to green a little bit.
(painting)
I want that red to flow to this
red here.
Turning to
(painting)
yellow.
Turning to green.
(painting)
The half tone looks like it's getting some of that brown
of the background.
(painting)
So when you get away it gets a little
cooler
and some brown and blue and some burnt umber and some blue.
(painting)
Maybe a little bit lighter.
But I want to keep it cool.
(painting)
That a little higher, on this hand kinda flow up to the thigh.
(painting)
And now that tells me - that tells me, the lightest, that tells me
this is not dark enough.
(painting)
Always be aware how you shape your leg, how this now how that
relates to this arm here.
(painting)
Okay let's take a break.
AUTO SCROLL
(painting)
Let's work on Ryder a little bit
because he still needs a lot of work.
I'm gonna keep Ryder
a little more of a cooler palette. I realized I want to have Sara more
popped up more.
(painting)
I'm gonna get the socket now,
I'm gonna get the eyeball.
(painting)
The ball turns this way darker so I'm just gonna
(painting)
paint this
darker so it can feel like it's more inside the socket.
(painting)
The lips got a little
low so let me bring it back up.
(painting)
Still gonna keep the lips warm.
But I think the main palette I'm gonna keep it
like more of a gray - kinda what he already has.
(painting)
Bring that
shadow forward a little bit.
(painting)
That's where the corner of the forehead turns.
(painting)
Let's get the hair.
(painting)
Sits next to that forehead.
(painting)
Cut in the forehead.
Might be coming out a little too much. Use the background.
(painting)
Let's make this shadow shape more clear.
(painting)
It's a little too dark.
(painting)
Here's the warmer.
(painting)
Nice large kinda ear that glows.
(painting)
Put it way up so I feel like we're looking from above his
head is tilting down.
(painting)
Have some of this dirty burnt umber to get
that core.
(painting)
I'm gonna keep all the left side of his
neck in,
give a reflected light.
(painting)
I wanna keep it a cooler palette so I used the burnt umber,
less the burnt sienna.
(painting)
Sculpting. I'll keep it overall cool and then I can
pop in some of the warm.
But actually it looks pretty nice. Let me just add the edge.
Add some of the warm.
Burnt sienna. But overall still keep it as a cooler palette.
(painting)
Top of the cheek catches light.
(painting)
Keep it warmer.
(painting)
Get the lips.
Purposefully set off the key a little bit, make it very warm.
(painting)
Even warmer than that
(painting)
to see how
that will pop from that cooler face. And if it's too much then we can
(painting)
come back, add some burnt umber to cool it.
(painting)
Again more cooler palette.
(painting)
Push that shadow darker.
Actually a little bit warmer.
(painting)
Ryder I do need your arm to go
yeah, yeah.
(painting)
So I can get this shadow shape right.
(painting)
I'm gonna mark off like where is the collar bone .
(painting)
When he gets back we're gonna
work on it some more.
Let's work on Ryder a little bit
because he still needs a lot of work.
I'm gonna keep Ryder
a little more of a cooler palette. I realized I want to have Sara more
popped up more.
(painting)
I'm gonna get the socket now,
I'm gonna get the eyeball.
(painting)
The ball turns this way darker so I'm just gonna
(painting)
paint this
darker so it can feel like it's more inside the socket.
(painting)
The lips got a little
low so let me bring it back up.
(painting)
Still gonna keep the lips warm.
But I think the main palette I'm gonna keep it
like more of a gray - kinda what he already has.
(painting)
Bring that
shadow forward a little bit.
(painting)
That's where the corner of the forehead turns.
(painting)
Let's get the hair.
(painting)
Sits next to that forehead.
(painting)
Cut in the forehead.
Might be coming out a little too much. Use the background.
(painting)
Let's make this shadow shape more clear.
(painting)
It's a little too dark.
(painting)
Here's the warmer.
(painting)
Nice large kinda ear that glows.
(painting)
Put it way up so I feel like we're looking from above his
head is tilting down.
(painting)
Have some of this dirty burnt umber to get
that core.
(painting)
I'm gonna keep all the left side of his
neck in,
give a reflected light.
(painting)
I wanna keep it a cooler palette so I used the burnt umber,
less the burnt sienna.
(painting)
Sculpting. I'll keep it overall cool and then I can
pop in some of the warm.
But actually it looks pretty nice. Let me just add the edge.
Add some of the warm.
Burnt sienna. But overall still keep it as a cooler palette.
(painting)
Top of the cheek catches light.
(painting)
Keep it warmer.
(painting)
Get the lips.
Purposefully set off the key a little bit, make it very warm.
(painting)
Even warmer than that
(painting)
to see how
that will pop from that cooler face. And if it's too much then we can
(painting)
come back, add some burnt umber to cool it.
(painting)
Again more cooler palette.
(painting)
Push that shadow darker.
Actually a little bit warmer.
(painting)
Ryder I do need your arm to go
yeah, yeah.
(painting)
So I can get this shadow shape right.
(painting)
I'm gonna mark off like where is the collar bone .
(painting)
When he gets back we're gonna
work on it some more.
AUTO SCROLL
(painting)
Gonna lower down his chin a little bit.
(painting)
So this will be our last day with the model
and
like I said I took a picture
reference of this pose so later if I need to touch up I will
just work off the reference.
(painting)
Gonna just touch up things.
(painting)
Use the finer brush, it's better for these smaller areas.
(painting)
I like that eye socket better than before. It
isn't what I'm trying to get, it's just a nice shape of - a nice, organic shape
and it's able to get the essence of the pose.
Instead I render everything out. Sometimes I just have to take
several tries to get that right, you know, right shape, right relationship
right look.
(painting)
I like that too.
(painting)
It gets a little bluer.
From the shadow to the side.
(painting)
Might be a little bit lighter too.
(painting)
This shadow flows into the chest.
(painting)
That's just an issue with his arm
So if I can
fit it right.
(painting)
Here's the collar bone, here's
the...
(painting)
Still I'm concerned how
the flow.
Use a bigger brush.
(painting)
The arm actually goes in here.
See how really close to his face.
(painting)
Here is the
suppinator muscle, comes in.
(painting)
Oops.
(painting)
I want to bring in that bicep
(painting)
It's kinda grayer.
(painting)
I keep adjusting that arm. I think I put it too far out.
(painting)
She has the front finger turning
darker.
(painting)
Thank you models.
(painting)
So guys I think I will still need to use
the reference I took just to finish this off.
I think
once I look at the reference I can probably see some of the -
by some of the separation
a little more clean off the reference and that might
you see I might want to come down this red cloth a little bit. It gets a little too fiery, a little too
distracted I think. I still need to darken the background.
Just give - again give those gradations and
and then we will -
and then we'll go from there.
Gonna lower down his chin a little bit.
(painting)
So this will be our last day with the model
and
like I said I took a picture
reference of this pose so later if I need to touch up I will
just work off the reference.
(painting)
Gonna just touch up things.
(painting)
Use the finer brush, it's better for these smaller areas.
(painting)
I like that eye socket better than before. It
isn't what I'm trying to get, it's just a nice shape of - a nice, organic shape
and it's able to get the essence of the pose.
Instead I render everything out. Sometimes I just have to take
several tries to get that right, you know, right shape, right relationship
right look.
(painting)
I like that too.
(painting)
It gets a little bluer.
From the shadow to the side.
(painting)
Might be a little bit lighter too.
(painting)
This shadow flows into the chest.
(painting)
That's just an issue with his arm
So if I can
fit it right.
(painting)
Here's the collar bone, here's
the...
(painting)
Still I'm concerned how
the flow.
Use a bigger brush.
(painting)
The arm actually goes in here.
See how really close to his face.
(painting)
Here is the
suppinator muscle, comes in.
(painting)
Oops.
(painting)
I want to bring in that bicep
(painting)
It's kinda grayer.
(painting)
I keep adjusting that arm. I think I put it too far out.
(painting)
She has the front finger turning
darker.
(painting)
Thank you models.
(painting)
So guys I think I will still need to use
the reference I took just to finish this off.
I think
once I look at the reference I can probably see some of the -
by some of the separation
a little more clean off the reference and that might
you see I might want to come down this red cloth a little bit. It gets a little too fiery, a little too
distracted I think. I still need to darken the background.
Just give - again give those gradations and
and then we will -
and then we'll go from there.
AUTO SCROLL
Hey class, welcome back. So
it's been actually I think two days after we did a sitting of the
two models and the set up. So
what happens was first of all I couldn't get the
painting done the way that I wanted it to be, you know,
for the time that was given to me and also
I had a little hard time but I took
picture reference. What I'm gonna do today - I'm actually gonna finish up
with the picture reference which is, like I said, which is often that's the case
when I work in the studios. A lot of times if there's
in class set up that I like I will be starting off from the class and then I will
take picture reference, like I said you might need to pay a fee, it depends on the models,
and then you take it back to your studio and you finish off of your photo reference.
I did that with I think the costume painting
that was, you know, a couple sections
before and I also did that. And then there's benefit
to working from both. There's, like I said, there's the pros and cons to it.
I think for picture reference, like I said, you can see the image a little bit.
Obviously closer to your convenience, distance, and also the model is not gonna move on you
and you can read the shape a little more clearer too. The
subtlety, the three dimensional subtlety that you can get from the live
is gonna get dismissed on the full reference. So those are - you can
get from painting from life but
anyway today I'm gonna finish this up
using my photo reference. Like I said I probably need to change Ryder
quite a bit but I think Sara I think I like
what we have. I might just clean up just some of the strokes, just simplify
some of the light shapes so we don't have too much strokes going on.
Right now I feel like there's too much strokes both on the cloth and also
on her. And the most important thing I want to make sure I
unify them. That's a whole point of having a two model set up.
Okay. So let me start working on Ryder
because I probably need to shift his position a little bit.
(painting)
And also on the set up, everything tends to be
a little more yellow because of that strong yellow spotlight and then on the
picture reference - actually I took a few. This one actually has a little bit of cool
gray in there which I like. The other picture I took they're also a little too orange
because I don't like, you know, I can always see when I step into a studio
you know today the paint probably dry, most of them I can see
Sara's is very warmer orange. That's probably the
how the set up was. But like I said I'm gonna cool down a little bit.
And so it's just not a
kind of leather that's this kinda orange leather color.
So I wanna have a little bit of a cool color in them.
(painting)
So I start with just burnt sienna, a little bit of a
black just to cool off and just get this kind of more of the cool
skin colors.
Can be probably a little bit warmer.
(painting)
But I do want both of them to glow a little bit more.
(painting)
So warm it up a little bit more.
(painting)
Now I'm looking at
really concerned about how the shape flows.
So this right here, this triangle shape on his
deltoid - that can work nicely. I don't like how his
head kinda angles like this, kinda lines up with the body but
I probably will shift his head a little bit straight.
(painting)
So in other words don't be afraid
to repaint over it. I happen to make a lot of painting
like I said gallery paintings that
I might come back to see something, doesn't feel right, the proportions are off, maybe head's too
large, little bit too large, but then you spend like what maybe 15 hours
working on it, you know, sometimes people are just
afraid to touch it because since you labor over it so much
you know but that's just something you got to do.
You have to - you know that's how you learn too, just go in
and really fix it if you know something doesn't look right. Or you can ask
your friend, you know, to come in to take a look at your painting
and your friends think you know the head's a little too large,
maybe ask another friend and if the other friend also has the same
response that means you better
change that head because
you are laboring over so much sometimes you don't see your mistake anymore.
Or you are like blind by it.
Or sometimes, like I said, you don't want to change it
again because you spend so much
time on it.
(painting)
But if three people think that head's too big then I'm pretty sure
it is.
(painting)
Again I want to
design a shape that flows into Sara, it comes out like this.
(painting)
Once you start putting some light,
strong light, it helps you to see where else
the light will hit that helps to connect the whole flow of the
gesture of the painting. So I have light here, light here coming over. So now I need
some lights right here.
(painting)
I might just let it fade
into the
background.
(painting)
I kinda like that gray pillow.
(painting)
It's kinda a little bit
ochre greenish.
(painting)
That will help to
push out Sara's - looks like her hair
coming out a little more.
(painting)
A little bit
white, a little bit yellow.
(painting)
In that case I spring Sara's out.
(painting)
Not too black, we also wanna save the black
to somewhere that's
really you don't get any light.
Line up to that shoulder.
(painting)
Looking at these shapes.
(painting)
This
really - let's make this really dark.
(painting)
I might - now it looks like she has this big
it's kinda cool but I might
need to lighten up that shadow a little bit. From a distance people might mistake - think that
is another side of the hair so she's got this big
bun things on the side.
(painting)
I'm gonna zoom in on Ryder a little bit.
It looks like he's got more warmer shadows right here.
Which again I have my base -
which base is burnt sienna and the black. That's my base
for my dark side and so I just need to shift that
a little bit warmer, add a little bit of yellow ochre and red.
(painting)
I'm gonna
lighten him up - actually like I said I don't like his head to turn
like this, I want to shift his head over.
(painting)
I just need to mix a little more
paint.
(painting)
Make it a little bit darker.
(painting)
I need to check
something to see - overall Ryder's hand
feels a little larger. I'm gonna enlarge the hand probably a little bit
more because I want people to look at his head first and then down to Sara.
(painting)
Okay let's get this shadow shape in him.
(painting)
Ooh this brush
is hard.
(painting)
Just don't want it too black, add a little bit of the orange.
(painting)
The whole -
(painting)
this side of the head, just gonna keep it a little
bit warmer.
The neck comes back a little bit more.
(painting)
Again I don't want him
too much. I'm gonna straighten this a little bit.
(painting)
That's better.
(painting)
In here looks darker.
(painting)
it's been actually I think two days after we did a sitting of the
two models and the set up. So
what happens was first of all I couldn't get the
painting done the way that I wanted it to be, you know,
for the time that was given to me and also
I had a little hard time but I took
picture reference. What I'm gonna do today - I'm actually gonna finish up
with the picture reference which is, like I said, which is often that's the case
when I work in the studios. A lot of times if there's
in class set up that I like I will be starting off from the class and then I will
take picture reference, like I said you might need to pay a fee, it depends on the models,
and then you take it back to your studio and you finish off of your photo reference.
I did that with I think the costume painting
that was, you know, a couple sections
before and I also did that. And then there's benefit
to working from both. There's, like I said, there's the pros and cons to it.
I think for picture reference, like I said, you can see the image a little bit.
Obviously closer to your convenience, distance, and also the model is not gonna move on you
and you can read the shape a little more clearer too. The
subtlety, the three dimensional subtlety that you can get from the live
is gonna get dismissed on the full reference. So those are - you can
get from painting from life but
anyway today I'm gonna finish this up
using my photo reference. Like I said I probably need to change Ryder
quite a bit but I think Sara I think I like
what we have. I might just clean up just some of the strokes, just simplify
some of the light shapes so we don't have too much strokes going on.
Right now I feel like there's too much strokes both on the cloth and also
on her. And the most important thing I want to make sure I
unify them. That's a whole point of having a two model set up.
Okay. So let me start working on Ryder
because I probably need to shift his position a little bit.
(painting)
And also on the set up, everything tends to be
a little more yellow because of that strong yellow spotlight and then on the
picture reference - actually I took a few. This one actually has a little bit of cool
gray in there which I like. The other picture I took they're also a little too orange
because I don't like, you know, I can always see when I step into a studio
you know today the paint probably dry, most of them I can see
Sara's is very warmer orange. That's probably the
how the set up was. But like I said I'm gonna cool down a little bit.
And so it's just not a
kind of leather that's this kinda orange leather color.
So I wanna have a little bit of a cool color in them.
(painting)
So I start with just burnt sienna, a little bit of a
black just to cool off and just get this kind of more of the cool
skin colors.
Can be probably a little bit warmer.
(painting)
But I do want both of them to glow a little bit more.
(painting)
So warm it up a little bit more.
(painting)
Now I'm looking at
really concerned about how the shape flows.
So this right here, this triangle shape on his
deltoid - that can work nicely. I don't like how his
head kinda angles like this, kinda lines up with the body but
I probably will shift his head a little bit straight.
(painting)
So in other words don't be afraid
to repaint over it. I happen to make a lot of painting
like I said gallery paintings that
I might come back to see something, doesn't feel right, the proportions are off, maybe head's too
large, little bit too large, but then you spend like what maybe 15 hours
working on it, you know, sometimes people are just
afraid to touch it because since you labor over it so much
you know but that's just something you got to do.
You have to - you know that's how you learn too, just go in
and really fix it if you know something doesn't look right. Or you can ask
your friend, you know, to come in to take a look at your painting
and your friends think you know the head's a little too large,
maybe ask another friend and if the other friend also has the same
response that means you better
change that head because
you are laboring over so much sometimes you don't see your mistake anymore.
Or you are like blind by it.
Or sometimes, like I said, you don't want to change it
again because you spend so much
time on it.
(painting)
But if three people think that head's too big then I'm pretty sure
it is.
(painting)
Again I want to
design a shape that flows into Sara, it comes out like this.
(painting)
Once you start putting some light,
strong light, it helps you to see where else
the light will hit that helps to connect the whole flow of the
gesture of the painting. So I have light here, light here coming over. So now I need
some lights right here.
(painting)
I might just let it fade
into the
background.
(painting)
I kinda like that gray pillow.
(painting)
It's kinda a little bit
ochre greenish.
(painting)
That will help to
push out Sara's - looks like her hair
coming out a little more.
(painting)
A little bit
white, a little bit yellow.
(painting)
In that case I spring Sara's out.
(painting)
Not too black, we also wanna save the black
to somewhere that's
really you don't get any light.
Line up to that shoulder.
(painting)
Looking at these shapes.
(painting)
This
really - let's make this really dark.
(painting)
I might - now it looks like she has this big
it's kinda cool but I might
need to lighten up that shadow a little bit. From a distance people might mistake - think that
is another side of the hair so she's got this big
bun things on the side.
(painting)
I'm gonna zoom in on Ryder a little bit.
It looks like he's got more warmer shadows right here.
Which again I have my base -
which base is burnt sienna and the black. That's my base
for my dark side and so I just need to shift that
a little bit warmer, add a little bit of yellow ochre and red.
(painting)
I'm gonna
lighten him up - actually like I said I don't like his head to turn
like this, I want to shift his head over.
(painting)
I just need to mix a little more
paint.
(painting)
Make it a little bit darker.
(painting)
I need to check
something to see - overall Ryder's hand
feels a little larger. I'm gonna enlarge the hand probably a little bit
more because I want people to look at his head first and then down to Sara.
(painting)
Okay let's get this shadow shape in him.
(painting)
Ooh this brush
is hard.
(painting)
Just don't want it too black, add a little bit of the orange.
(painting)
The whole -
(painting)
this side of the head, just gonna keep it a little
bit warmer.
The neck comes back a little bit more.
(painting)
Again I don't want him
too much. I'm gonna straighten this a little bit.
(painting)
That's better.
(painting)
In here looks darker.
(painting)
AUTO SCROLL
I'm gonna use a
brush that has better control
which is again my sable. Looks like the
cast shadow underneath his nose is really warm.
(painting)
Warmer than that.
(painting)
Check your lips - his face is actually set back.
Looks like the side of the lips here.
(painting)
And this side comes out.
(painting)
About right here.
(painting)
Move that shadow over
a little bit.
(painting)
Bring this
in a little more.
(painting)
Looks like this kinda dark, almost like this
dark edge
(painting)
helps to
separate from his trapezius.
(painting)
Got a deeper shadow here.
Below the lower lips.
Gift a little bit of
half tones.
(painting)
Opens up this shape.
(painting)
Looks like just the cheek
has a little bit of warm.
So does this side.
(painting)
I'm gonna reestablish his shadows there
on his face.
(painting)
Let's lighten it up a little bit more.
(painting)
Again open this side still a little more.
The muzzle but it looks
cooler so I add some black.
(painting)
He has more like wider chin,
more manly chin.
(painting)
I'll adjust his hair.
(painting)
I'll paint a little more on the forehead.
Gonna trim back.
Whoops.
(painting)
Redefine this shadow right here.
(painting)
The sternocleidomastoid muscle shadow coming in.
That little light that kicks back up.
(painting)
Let me get some of that background in.
Again help me to -
I wanna trim that face and it will help me to get a
better
sense of the silhouettes and proportions.
(painting)
I'm gonna open up that left side of the
pectoralis a little bit more. Now as seeing as I kinda moved his head a little bit
towards this way.
(painting)
His head coming in
and this comes in to the pit of the neck between his
collarbone come in and swing down.
(painting)
Swing up.
(painting)
So here it goes a little more rich
shadows, here it goes a little more lighter, grayer shadows.
(painting)
Again
the challenge still - try
to
connect them.
(painting)
A little too weak
I'm gonna make it a little bit more
intense.
(painting)
The wrist is about right here.
(painting)
Let's bring that bicep over a little more because this is where -
where his deltoid is.
(painting)
brush that has better control
which is again my sable. Looks like the
cast shadow underneath his nose is really warm.
(painting)
Warmer than that.
(painting)
Check your lips - his face is actually set back.
Looks like the side of the lips here.
(painting)
And this side comes out.
(painting)
About right here.
(painting)
Move that shadow over
a little bit.
(painting)
Bring this
in a little more.
(painting)
Looks like this kinda dark, almost like this
dark edge
(painting)
helps to
separate from his trapezius.
(painting)
Got a deeper shadow here.
Below the lower lips.
Gift a little bit of
half tones.
(painting)
Opens up this shape.
(painting)
Looks like just the cheek
has a little bit of warm.
So does this side.
(painting)
I'm gonna reestablish his shadows there
on his face.
(painting)
Let's lighten it up a little bit more.
(painting)
Again open this side still a little more.
The muzzle but it looks
cooler so I add some black.
(painting)
He has more like wider chin,
more manly chin.
(painting)
I'll adjust his hair.
(painting)
I'll paint a little more on the forehead.
Gonna trim back.
Whoops.
(painting)
Redefine this shadow right here.
(painting)
The sternocleidomastoid muscle shadow coming in.
That little light that kicks back up.
(painting)
Let me get some of that background in.
Again help me to -
I wanna trim that face and it will help me to get a
better
sense of the silhouettes and proportions.
(painting)
I'm gonna open up that left side of the
pectoralis a little bit more. Now as seeing as I kinda moved his head a little bit
towards this way.
(painting)
His head coming in
and this comes in to the pit of the neck between his
collarbone come in and swing down.
(painting)
Swing up.
(painting)
So here it goes a little more rich
shadows, here it goes a little more lighter, grayer shadows.
(painting)
Again
the challenge still - try
to
connect them.
(painting)
A little too weak
I'm gonna make it a little bit more
intense.
(painting)
The wrist is about right here.
(painting)
Let's bring that bicep over a little more because this is where -
where his deltoid is.
(painting)
AUTO SCROLL
Okay. Gonna finally get that head kinda
settled in place. I think now I'm gonna just
work on his torso according to head positions.
The head is important because basically the whole rest
of the body has the base of that, how the - where the shoulder
aligns, how far this sternum comes down or how far the pectoralis
comes down. That's what I'm actually gonna do, I'm gonna - looks like
I need to move that down a little bit.
(painting)
Again my concern is that
he feels like obviously
he's sinking in behind her, right,
so I'm trying to figure out how am I able to -
even though he's sunken in behind, I still wanted to
get - almost feel like he's instead of
sinking down, rise up and kinda go
like this. Let's see what can I do?
I need to get things more pushing
over here, this direction.
(painting)
Then let's bring this side in then.
(painting)
So
it's a pretty gray palette because again just right now pretty
just trying to get his value right,
proportions right and then
just shift
the subtle temperature. I feel a little pink here but let me
get the...
(painting)
Let's push it a little more.
I want to see more of that
down plane,
pectoralis.
(painting)
And here it gets light too and here
and here it's a little bit orange because it's closer to the light source.
A little bit of yellow.
(painting)
When turning down it gets a little bit darker.
(painting)
Here we got that light peeking through.
(painting)
Here trim too much, or fill too much.
We can add a little bit more here.
So we can get a sense of that right mass.
(painting)
Push a little more
of the contrast.
(painting)
Line this up because I need to come back
to do something in here so I might just look at that space.
(painting)
I don't want that.
(painting)
Sculpting.
(painting)
Bring it down a little more. I want it lower
than that nipple.
(painting)
Yeah.
Didn't want that
black to be there.
(painting)
Soften that edge.
(painting)
settled in place. I think now I'm gonna just
work on his torso according to head positions.
The head is important because basically the whole rest
of the body has the base of that, how the - where the shoulder
aligns, how far this sternum comes down or how far the pectoralis
comes down. That's what I'm actually gonna do, I'm gonna - looks like
I need to move that down a little bit.
(painting)
Again my concern is that
he feels like obviously
he's sinking in behind her, right,
so I'm trying to figure out how am I able to -
even though he's sunken in behind, I still wanted to
get - almost feel like he's instead of
sinking down, rise up and kinda go
like this. Let's see what can I do?
I need to get things more pushing
over here, this direction.
(painting)
Then let's bring this side in then.
(painting)
So
it's a pretty gray palette because again just right now pretty
just trying to get his value right,
proportions right and then
just shift
the subtle temperature. I feel a little pink here but let me
get the...
(painting)
Let's push it a little more.
I want to see more of that
down plane,
pectoralis.
(painting)
And here it gets light too and here
and here it's a little bit orange because it's closer to the light source.
A little bit of yellow.
(painting)
When turning down it gets a little bit darker.
(painting)
Here we got that light peeking through.
(painting)
Here trim too much, or fill too much.
We can add a little bit more here.
So we can get a sense of that right mass.
(painting)
Push a little more
of the contrast.
(painting)
Line this up because I need to come back
to do something in here so I might just look at that space.
(painting)
I don't want that.
(painting)
Sculpting.
(painting)
Bring it down a little more. I want it lower
than that nipple.
(painting)
Yeah.
Didn't want that
black to be there.
(painting)
Soften that edge.
(painting)
AUTO SCROLL
I don't want him to feel like a hunchback so
I almost feel like that trapezius is kinda bulging out a little too much
so I'm kinda trimming it this way.
(painting)
And the top part gets a little gray.
(painting)
Which almost feels a little ochre, almost like that
color.
(painting)
Bring into some of that arm.
The upper arm.
(painting)
The shadow is a little too thin. I want to widen those shadows on her breast.
I want those intense shadows
all I got is - mixed yellow and burnt sienna.
(painting)
Soften it a little bit.
(painting)
I want
this to flow up.
(painting)
Relate to his deltoid.
(painting)
Here looks much cooler.
(painting)
It's light but it's cooler so I'm staying on the light side.
(painting)
It gets pink
but more pink.
(painting)
Get that flow.
(painting)
This one looks like we had these warm shadows.
(painting)
Again I'm making this darker, like I said last time, just to separate from
that deltoid.
(painting)
I want
to open up this shape that flows like this.
Looks like the stomach gets a little
bit yellower.
(painting)
I want more of a clean torso, meaning less strokes.
(painting)
And then some of the dry brushes from the
the dry paint from a couple days ago.
I kinda like that, give a little bit of the
transparent feel. And a lot of times when you work on
(painting)
paintings you can get these
overlay kinda effect again because
you paint over on top of what you have. And sometimes
and then you can shift to warm and cool
for example if I want it cooler.
(painting)
See I can dry brush cooler like this.
(painting)
It gets a little too heavy
I don't like that.
(painting)
So let's open this up.
(painting)
Whoops. Where did I get that red from.
I can cool it with a little bit of that blue.
(painting)
Feeling that flow.
(painting)
The lower leg looks a little bit purple.
(painting)
I'll put in shadows so the leg will come out.
(painting)
I need to lighten this area.
Almost looks slightly pink.
Sorry, purple.
(painting)
The thigh here I wanna feel more like an egg.
(painting)
That's better instead I think
it was too distracting
before.
(painting)
I like this shape.
(painting)
I was gonna bring the drapes over
but I kinda like this shape, this flow of the light.
I might drop that,
the red cloth, a little bit.
(painting)
I almost feel like that trapezius is kinda bulging out a little too much
so I'm kinda trimming it this way.
(painting)
And the top part gets a little gray.
(painting)
Which almost feels a little ochre, almost like that
color.
(painting)
Bring into some of that arm.
The upper arm.
(painting)
The shadow is a little too thin. I want to widen those shadows on her breast.
I want those intense shadows
all I got is - mixed yellow and burnt sienna.
(painting)
Soften it a little bit.
(painting)
I want
this to flow up.
(painting)
Relate to his deltoid.
(painting)
Here looks much cooler.
(painting)
It's light but it's cooler so I'm staying on the light side.
(painting)
It gets pink
but more pink.
(painting)
Get that flow.
(painting)
This one looks like we had these warm shadows.
(painting)
Again I'm making this darker, like I said last time, just to separate from
that deltoid.
(painting)
I want
to open up this shape that flows like this.
Looks like the stomach gets a little
bit yellower.
(painting)
I want more of a clean torso, meaning less strokes.
(painting)
And then some of the dry brushes from the
the dry paint from a couple days ago.
I kinda like that, give a little bit of the
transparent feel. And a lot of times when you work on
(painting)
paintings you can get these
overlay kinda effect again because
you paint over on top of what you have. And sometimes
and then you can shift to warm and cool
for example if I want it cooler.
(painting)
See I can dry brush cooler like this.
(painting)
It gets a little too heavy
I don't like that.
(painting)
So let's open this up.
(painting)
Whoops. Where did I get that red from.
I can cool it with a little bit of that blue.
(painting)
Feeling that flow.
(painting)
The lower leg looks a little bit purple.
(painting)
I'll put in shadows so the leg will come out.
(painting)
I need to lighten this area.
Almost looks slightly pink.
Sorry, purple.
(painting)
The thigh here I wanna feel more like an egg.
(painting)
That's better instead I think
it was too distracting
before.
(painting)
I like this shape.
(painting)
I was gonna bring the drapes over
but I kinda like this shape, this flow of the light.
I might drop that,
the red cloth, a little bit.
(painting)
AUTO SCROLL
Alrighty. Okay now
I'm gonna kinda
tune everything. I want to make sure -
I want to make sure everything now flows,
kinda flows to each other.
(painting)
I kinda was doing that but
some area kinda got cut off
with the rendering. But now I wanna step back
really kinda focusing on
on the whole thing.
(painting)
Let's open that up a little bit.
(painting)
Looks like a little -
little lighter on the side I think just
feel like it's - the body
glows.
(painting)
The forehead
box steps forward.
(painting)
Come this way, go back to the ear.
(painting)
And then the
neck.
(painting)
Let's make that shadow a little bit darker.
(painting)
Flows behind
I'm gonna get rid of
this because it's too crowded in there.
(painting)
That gray pillow I want to
come back and design a
better shape.
(painting)
Work on the shadow on
Sara.
(painting)
So I start with this kinda yellow, golden color
and add a little bit of green just to
cool it off a little bit. Overall I want to keep this shadow very warm.
It feels a little too cool right now.
(painting)
Yellow transition to red.
(painting)
More intense red facing the top.
(painting)
Darker red facing down.
(painting)
I'm also gonna make the
top plane of the thigh a little bit yellower
but also needs to be a little
darker too because otherwise you can't see
the separations of this leg.
(painting)
Here also feels really
bleached out because the light
comes in a little more because it's a large area.
So you have like softer edges
too. There's the hip that's turning around.
(painting)
There's the knee.
(painting)
Turning down,
make a little bit orange, turning up, little bit pink.
Got a little grayer pink.
(painting)
I don't like that to be cut off.
I might just blend it even though I probably
can't get the elbow to show the way I would like
to. I'm just kinda
just gotta ignore it.
(painting)
But I do need the
shadow here. I need to be more
intense.
(painting)
Go back to those shadows again.
(painting)
Get a little more warm in here.
(painting)
Here too.
(painting)
Top plane lighter.
Bottom plane darker. I can't see the bottom of the reference, which
I didn't take the bottom part but I'm still gonna.
I know I'm just gonna paint it darker.
(painting)
Here I'm gonna
keep it really - keep it more darker.
(painting)
Keep it flat.
(painting)
I got almost like a gradation.
(painting)
I want to give it a little bit of pink here
just because this is such a strong drapes underneath.
I'm gonna also
pop up, give a little stronger red.
I remember on the setup we got a stronger red here,
even here, so it was a stronger
red I just need
right here.
(painting)
So the audience would really feel, sense that
warm bouncing up to her shadows.
(painting)
Work on that hand a little bit.
(painting)
I'm gonna kinda
tune everything. I want to make sure -
I want to make sure everything now flows,
kinda flows to each other.
(painting)
I kinda was doing that but
some area kinda got cut off
with the rendering. But now I wanna step back
really kinda focusing on
on the whole thing.
(painting)
Let's open that up a little bit.
(painting)
Looks like a little -
little lighter on the side I think just
feel like it's - the body
glows.
(painting)
The forehead
box steps forward.
(painting)
Come this way, go back to the ear.
(painting)
And then the
neck.
(painting)
Let's make that shadow a little bit darker.
(painting)
Flows behind
I'm gonna get rid of
this because it's too crowded in there.
(painting)
That gray pillow I want to
come back and design a
better shape.
(painting)
Work on the shadow on
Sara.
(painting)
So I start with this kinda yellow, golden color
and add a little bit of green just to
cool it off a little bit. Overall I want to keep this shadow very warm.
It feels a little too cool right now.
(painting)
Yellow transition to red.
(painting)
More intense red facing the top.
(painting)
Darker red facing down.
(painting)
I'm also gonna make the
top plane of the thigh a little bit yellower
but also needs to be a little
darker too because otherwise you can't see
the separations of this leg.
(painting)
Here also feels really
bleached out because the light
comes in a little more because it's a large area.
So you have like softer edges
too. There's the hip that's turning around.
(painting)
There's the knee.
(painting)
Turning down,
make a little bit orange, turning up, little bit pink.
Got a little grayer pink.
(painting)
I don't like that to be cut off.
I might just blend it even though I probably
can't get the elbow to show the way I would like
to. I'm just kinda
just gotta ignore it.
(painting)
But I do need the
shadow here. I need to be more
intense.
(painting)
Go back to those shadows again.
(painting)
Get a little more warm in here.
(painting)
Here too.
(painting)
Top plane lighter.
Bottom plane darker. I can't see the bottom of the reference, which
I didn't take the bottom part but I'm still gonna.
I know I'm just gonna paint it darker.
(painting)
Here I'm gonna
keep it really - keep it more darker.
(painting)
Keep it flat.
(painting)
I got almost like a gradation.
(painting)
I want to give it a little bit of pink here
just because this is such a strong drapes underneath.
I'm gonna also
pop up, give a little stronger red.
I remember on the setup we got a stronger red here,
even here, so it was a stronger
red I just need
right here.
(painting)
So the audience would really feel, sense that
warm bouncing up to her shadows.
(painting)
Work on that hand a little bit.
(painting)
AUTO SCROLL
The hand come out, the wrist comes out right here about right
here.
(painting)
Push that suppinator muscle over a little more.
(painting)
The hand - the arm twists.
(painting)
I'm gonna straighten this up a little bit.
(painting)
Bring that up a little bit.
(painting)
Okay so I have to open here. Swing
forward.
(painting)
Feels like
it needs to be taller.
(painting)
Bring those shadows
a little thin underneath his chest.
(painting)
Let's push this guy's half tone a little bit.
(painting)
I think I will make it warmer because the face overall is so
very cool.
(painting)
So his top of his fingers
is in light.
(painting)
Usually drawing hands
just think of a group, which what I can do is I can
actually group these two fingers
(painting)
and group these two fingers
into one.
(painting)
And then separate them. here's the front
other guy.
And the pink is right here.
(painting)
Top, push that shadow a little darker.
(painting)
Maybe not so black.
and that pinky, the front,
is still in light.
(painting)
Turning this way. These get lighter because
the finger goes pushing up more.
(painting)
Let me make the front of the fingers redder because
it's closer to the
cloth.
(painting)
And then really push the shadow darker.
And this...
(painting)
I got paint on the brushes, it gets all over my hands.
I think when I drop the brushes over the side probably just
drops on top of another brush.
(painting)
Make the shadow really deep warm.
(painting)
The hand turns this way
it gets darker.
(painting)
I'm gonna paint here
darker to get the to get the side of the forearm right here.
(painting)
Turn to this side get a little bit darker.
Maybe not that dark. That's okay.
(painting)
Fix this
shape. I think this feels a little too thick.
(painting)
Open this up a little bit.
(painting)
here.
(painting)
Push that suppinator muscle over a little more.
(painting)
The hand - the arm twists.
(painting)
I'm gonna straighten this up a little bit.
(painting)
Bring that up a little bit.
(painting)
Okay so I have to open here. Swing
forward.
(painting)
Feels like
it needs to be taller.
(painting)
Bring those shadows
a little thin underneath his chest.
(painting)
Let's push this guy's half tone a little bit.
(painting)
I think I will make it warmer because the face overall is so
very cool.
(painting)
So his top of his fingers
is in light.
(painting)
Usually drawing hands
just think of a group, which what I can do is I can
actually group these two fingers
(painting)
and group these two fingers
into one.
(painting)
And then separate them. here's the front
other guy.
And the pink is right here.
(painting)
Top, push that shadow a little darker.
(painting)
Maybe not so black.
and that pinky, the front,
is still in light.
(painting)
Turning this way. These get lighter because
the finger goes pushing up more.
(painting)
Let me make the front of the fingers redder because
it's closer to the
cloth.
(painting)
And then really push the shadow darker.
And this...
(painting)
I got paint on the brushes, it gets all over my hands.
I think when I drop the brushes over the side probably just
drops on top of another brush.
(painting)
Make the shadow really deep warm.
(painting)
The hand turns this way
it gets darker.
(painting)
I'm gonna paint here
darker to get the to get the side of the forearm right here.
(painting)
Turn to this side get a little bit darker.
Maybe not that dark. That's okay.
(painting)
Fix this
shape. I think this feels a little too thick.
(painting)
Open this up a little bit.
(painting)
AUTO SCROLL
I wanna make this
side darker.
(painting)
I need to reload my
paint really quick.
(painting)
What I'm gonna do
I'm gonna bunch this part so I can feel like this arm actually
is doing this instead
it's kinda straight down.
(painting)
Lighten up this.
(painting)
It's making
it really light.
(painting)
The way the wrist,
(painting)
corner.
(painting)
Let's repaint that tattoo again.
(painting)
This triangle, that pubic hair, I want to
(painting)
flow it down.
Bring it down
so it flows.
(painting)
Let's give it a little transition here.
(painting)
This arm looks pretty crappy, let me keep it
also give it a nice flow.
(painting)
Lighten up here a little bit because that's where the light hits.
(painting)
Gonna cheat it and
make it a little light here because it's so dark in there.
(painting)
Push
it a little bit, get a little bit of a half tone in there.
A little bit of a warm cheek.
A little more.
(painting)
Fix the shape really quick.
(painting)
Whoops.
(painting)
I'm gonna take that background and just
blend into the shadow of the arm, this has become one
(painting)
one mass.
(painting)
I think I'm just gonna forget about those shadows of
Sara's head.
(painting)
Let's do that.
(painting)
Just gonna clean up right here.
Forget about that shadow right there.
(painting)
Clean up.
(painting)
side darker.
(painting)
I need to reload my
paint really quick.
(painting)
What I'm gonna do
I'm gonna bunch this part so I can feel like this arm actually
is doing this instead
it's kinda straight down.
(painting)
Lighten up this.
(painting)
It's making
it really light.
(painting)
The way the wrist,
(painting)
corner.
(painting)
Let's repaint that tattoo again.
(painting)
This triangle, that pubic hair, I want to
(painting)
flow it down.
Bring it down
so it flows.
(painting)
Let's give it a little transition here.
(painting)
This arm looks pretty crappy, let me keep it
also give it a nice flow.
(painting)
Lighten up here a little bit because that's where the light hits.
(painting)
Gonna cheat it and
make it a little light here because it's so dark in there.
(painting)
Push
it a little bit, get a little bit of a half tone in there.
A little bit of a warm cheek.
A little more.
(painting)
Fix the shape really quick.
(painting)
Whoops.
(painting)
I'm gonna take that background and just
blend into the shadow of the arm, this has become one
(painting)
one mass.
(painting)
I think I'm just gonna forget about those shadows of
Sara's head.
(painting)
Let's do that.
(painting)
Just gonna clean up right here.
Forget about that shadow right there.
(painting)
Clean up.
(painting)
AUTO SCROLL
Okay. Let's finish this thing.
up. Let me get these drapes.
Organize it a little bit.
(painting)
That's kinda weird that
hair just comes straight out from her cranium. Give a little bit
of height.
(painting)
Got
to get that.
(painting)
Can't see her.
(painting)
I'm gonna try to make the background lighter.
(painting)
Maybe a little more.
(painting)
Again I wanna make sure
all this transitions flow nicely.
(painting)
Gonna flow nicely.
(painting)
A final thought, gonna be a final look.
(painting)
I want the drape also to flow this way a little more.
Here is okay
here is just keep it dark.
Just come down some of - play down some of
the strokes.
(painting)
Maybe
I don't want that show so much, maybe just soften it.
(painting)
Forgot he has a thumb.
(painting)
Okay guys I'm gonna call it
because the more I stare at it probably just the more things I can do. But I think I already spent enough
time on this piece and I'm just gonna kinda let it go.
So again it's a combo
process. We start off from life and
you know get as much of the painting I can get done from the
life set up and we finish up from the full reference. Again most of the
studio - well not most of it, some of the studio
work is done this way. More of, obviously the whole, pretty much
all my studio work is done of the full reference. Actually pretty much
all the friends that are professional painters is done this way too.
It's obviously - if you imagine it's very expensive to hire
models for multiple sittings unless maybe you do -
if you're done a sculpture. Sometimes what we do is like I will
finish up a photo reference and then come back and get the model
back again and just for the final
touch up, okay. So hopefully you guys, again,
appreciate you guys staying, I dunno even know how many hours
but
as you can see I think every artist,
you know, every artist has to go through this. My - one of my
good friends he actually was my teacher said painting is
basically just a bunch of corrections, you know, we're frustrated over every
piece I wish the piece could be just smooth but I think for a complex piece like this
you know it's just a lot of hurdle we have to get over with
especially for the way I paint is such a -
so impressionist so
in a way that's so many changes, so many constantly
trying to make things better and constantly seeing different things.
But it all boils down to if you have a solid
foundation it will help you, you know, to achieve this
level. Okay so again, I appreciate - again I'm
very appreciative you guys to spend many hours with me
and I will see you guys in the next part.
Next lesson.
up. Let me get these drapes.
Organize it a little bit.
(painting)
That's kinda weird that
hair just comes straight out from her cranium. Give a little bit
of height.
(painting)
Got
to get that.
(painting)
Can't see her.
(painting)
I'm gonna try to make the background lighter.
(painting)
Maybe a little more.
(painting)
Again I wanna make sure
all this transitions flow nicely.
(painting)
Gonna flow nicely.
(painting)
A final thought, gonna be a final look.
(painting)
I want the drape also to flow this way a little more.
Here is okay
here is just keep it dark.
Just come down some of - play down some of
the strokes.
(painting)
Maybe
I don't want that show so much, maybe just soften it.
(painting)
Forgot he has a thumb.
(painting)
Okay guys I'm gonna call it
because the more I stare at it probably just the more things I can do. But I think I already spent enough
time on this piece and I'm just gonna kinda let it go.
So again it's a combo
process. We start off from life and
you know get as much of the painting I can get done from the
life set up and we finish up from the full reference. Again most of the
studio - well not most of it, some of the studio
work is done this way. More of, obviously the whole, pretty much
all my studio work is done of the full reference. Actually pretty much
all the friends that are professional painters is done this way too.
It's obviously - if you imagine it's very expensive to hire
models for multiple sittings unless maybe you do -
if you're done a sculpture. Sometimes what we do is like I will
finish up a photo reference and then come back and get the model
back again and just for the final
touch up, okay. So hopefully you guys, again,
appreciate you guys staying, I dunno even know how many hours
but
as you can see I think every artist,
you know, every artist has to go through this. My - one of my
good friends he actually was my teacher said painting is
basically just a bunch of corrections, you know, we're frustrated over every
piece I wish the piece could be just smooth but I think for a complex piece like this
you know it's just a lot of hurdle we have to get over with
especially for the way I paint is such a -
so impressionist so
in a way that's so many changes, so many constantly
trying to make things better and constantly seeing different things.
But it all boils down to if you have a solid
foundation it will help you, you know, to achieve this
level. Okay so again, I appreciate - again I'm
very appreciative you guys to spend many hours with me
and I will see you guys in the next part.
Next lesson.
AUTO SCROLL
So for homework for this it's gonna be a little bit challenging. You probably won't have an
access to find a multifigure workshop, it's kinda rare
to have that. So what I would like you guys to do, go find a master painting
that has a group of figures, artist like Rubens, you know,
and the Renaissance - those Renaissance period artists, they have a lot of kinda
a group of figures things. Find a photo reference that's kinda close to the
composition of poses that you see from the master painting and then just basically
just paint from that. Paint off the photo reference using
the master's composition. Their environments and all that. So basically do a -
almost like doing a master copy but using a real photo reference.
Or what you can do is you can come up with your own thing, you know,
come up with whatever the theme is and then find poses that's kinda suitable
for your idea and also do a group figure painting, that actually would be fine
to do too. Okay so good luck and I know it's a lot of test, a lot of
challenge but you guys are gonna gain a lot of knowledge and get a lot of
knowledge from this. So good luck I'll see you guys
next time.
access to find a multifigure workshop, it's kinda rare
to have that. So what I would like you guys to do, go find a master painting
that has a group of figures, artist like Rubens, you know,
and the Renaissance - those Renaissance period artists, they have a lot of kinda
a group of figures things. Find a photo reference that's kinda close to the
composition of poses that you see from the master painting and then just basically
just paint from that. Paint off the photo reference using
the master's composition. Their environments and all that. So basically do a -
almost like doing a master copy but using a real photo reference.
Or what you can do is you can come up with your own thing, you know,
come up with whatever the theme is and then find poses that's kinda suitable
for your idea and also do a group figure painting, that actually would be fine
to do too. Okay so good luck and I know it's a lot of test, a lot of
challenge but you guys are gonna gain a lot of knowledge and get a lot of
knowledge from this. So good luck I'll see you guys
next time.
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27m 28s
2. Laying in the Composition -
23m 56s
3. Establishing the Environment -
32m 44s
4. Applying Shadow Shapes -
24m 47s
5. Revamping Sara's Torso -
29m 23s
6. Form and Reflected Light -
22m 16s
7. Refining Shapes and Forms -
26m 33s
8. Compositional Adjustments -
27m 39s
9. Forms of the Male Torso -
6m 19s
10. Blocking in Ryder's Face -
15m 54s
11. Blocking in Ryder's Face Part 2 -
29m 54s
12. Defining Female Forms -
21m 20s
13. Blocking in Sara's Face -
33m 42s
14. Refining Sara's Face and Torso -
28m 20s
15. Developing Sara's Legs -
28m 50s
16. Detailing Ryder's Face -
25m 58s
17. Final Details From Life -
24m 5s
18. Reworking from Photo Reference -
28m 3s
19. Blocking in Ryder's Face and Torso -
19m 1s
20. Defining Forms of Ryder's Torso -
23m 40s
21. Reworking Sara's Torso -
28m 18s
22. Harmonizing Changes in Composition -
29m 31s
23. Details of Sara's Torso -
27m 19s
24. Details of Ryder's Torso -
18m 44s
25. Final Touches and Conclusion -
1m 16s
26. Assignment Instructions
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