- Lesson details
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, Charles demonstrates painting in black & white, this time focusing on techniques geared towards painting the figure.
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and I got my set up ready and, as you can
see, I took one of my comps, which I just did.
I'm gonna put this female back, kinda back nude
and I'm gonna actually do a painting based off
the comp I just did. You know which will figure out the
value grouping, figure out where the focal point is gonna be.
you can see, I have my pallet.
Usually this is what I set out. I use a glass pallet,
I don't use those handheld wooden pallet and I have glass pallet,
I have my scraper just in case I need to scrape but we're only using black and
white I might not need it. You always want to have a
pallet that's equal or larger than
your canvas ideally. So I have a 16 by 20 canvas right now,
this is a Fredrix canvas board and again this is 16 by 20 glass
pallet. Now of course if you go out
landscape it would be different because this is still pretty heavy to carry with and when I go landscape
I have a smaller pallet and also a smaller canvas.
Now here's my gamsol and this
is the stainless steel container and you can see
the gamsol again has to pour over the strainer.
Here's my refined linseed oil, I might not need it today if
my white is too dry, sometimes they come with very dry
paint and I might need that to just kind of
dilute a little bit, make it a little bit easier for the paint to flow.
Here's my brushes, I kinda never really know how much
brushes I need so I just usually, you know, put out a bunch and just
a larger size to small but a certain size I always know - I always need this
largest one which is the size 14 for, you know, for wash
a tone, mainly for washing tones. And then I have, you know,
some medium size number nines, number eights. Again these are all
brights. I like to have a flat top. And I need
a filbert like this for my sketch, for my lay in. I will use this brush
for my lay in and then I know I need, again, the right sable
for small areas, for more finer
areas that I might need. Again, I never know
Maybe I need them, maybe I don't. Depends how far I wanna take this
painting. Again I'm not gonna do a fully rendered
piece, again I'm just pretty much gonna project what I already did
that's a comp onto the canvas
and so you guys can see the process
that if you've guys have never done oil painting before
and this is a process you guys need to basically
follow and later when we transition into the color
it's a similar approach.
it's so important I'm holding it with me because
as you can see, that's a lot of paint. Okay, so if we're painting alla prima,
which that's what we're gonna be doing for the whole series,
you do need a lot of paint. A little tap of paint is not gonna work, small tube of paint
on a few colors you can use a small tube but most
likely you're gonna use a lot. It's better to have more than less.
And then so obviously more paint requires
kinda more cleaning, more consistent cleaning you have to do to keep your brush clean.
Okay so first thing I'm
gonna do is I'm gonna wash a tone.
Because you know I didn't do that, I just kinda sketch out the drawings
and put the background later but as you
can see, the reason why we do wash a tone is that a tone can be -
can serve maybe somewhere in that shadow or maybe
somewhere in the background. It's not gonna be that dark because you don't wanna wash it
really really dark value because otherwise when you sketch it in you can't really see anything.
Okay so the idea for
laying down a wash, a tone, it's
that you wanna take the transparent colors. Obviously we
only got two colors and that black will be the transparent color.
And then, again like I said the purpose of
the wash and tone is to get rid of these white canvases because
if you look at the reference there's no pure white, there's not much pure white. maybe
the highlights on the pearl earring, maybe some areas on
the - not even
the white of the eyes, that's not a pure white. So like I said you only got the
lightest part would be that pearl earring, just a dab of it. So in this case you
kinda get rid of all this white and you work off the middle value
and then you go darker so it's shadow and then you go lighter out from that. So
I'm gonna use my black and then I'm gonna
make it a wash.
I don't want a chunk of paint on my brush because that's gonna
end up to stay on the canvas and will be too
dark. So I want just a
a light wash.
And when you do that - well now
I'm using a canvas board, like I said,
different canvas responds differently. If you use a stretch canvas, obviously
it's gonna just suck in this paint beautifully. Seeing as we have
the back of the board so it's gonna resist the paint a little bit
and so what will happen is you wanna push it in, scribble it in.
And notice I like to start from the outside of the
canvas and it goes towards the middle because
you get that glow and also usually your
subject will be right in the middle. You don't want that area to get too dark.
Actually eventually I'm gonna come back with my paper towel to kinda rub everything
so it's, you know, so you can have an
even kinda evenness to it.
If you are painting this
like from the studio and you're gonna take, you know,
take it home right after the sections, usually sometimes what I do,
I leave a corner dry so you can actually
pick it out with your fingers. Otherwise it's all gonna be wet, you know, and then
your fingers ,
your hands are gonna get dirty. But this I'm just gonna
for this demonstration purpose I'm just gonna tone the whole thing down.
As you can see
I scribble pretty hard into the canvas
and that's why my brushes, like I mentioned before
they don't last. As you can see there's already kinda probably some of the hair is
already stand off, you know,
I clean them as best
as I can but I don't, like I said, I don't get too crazy.
Getting conditioner and stuff.
And now I'll take a
paper towel. I like paper towels more than a rag
and you don't need to get the blue
heavy duty - the blue color paper towels at the shop. Just
the white paper towels, again, these are from Costco, I love them. They're a large role
they work nicely. And when you're gonna rub, kinda rub in
make sure to keep them flat because you don't want it to crumble and you got these
edges, you're gonna scrap the paint.
You can see there's like a bubble up, that means it's very -
still very wet. See the problem is you don't
want to get really wet because otherwise all the color, that color that you put down
is gonna get polluted. Right. So
you know these for sure, that corner for sure, is way too wet. You can see
it doesn't even sink into the canvas. So
make sure not too wet.
The problem is when it's so wet later when you're trying to sketch
it's just gonna - your line is gonna start to dilute and then just gonna
And the other benefit
of putting a tone
it's again to get the canvas ready. You got this
kinda wet surface so allow the
paint flow better, you know, working straight onto the
dry canvas. Sometimes you kinda have to drag the paint a little bit. This works - already have
this wet surface, almost like watercolor so you can actually
again when you paint, you draw, the line will carry longer instead if you use
pure white canvas, sometimes like I said it sucks
out your paint off your brush to soak too quickly and
that's kinda frustrating.
Okay so I have this kinda middle
tone and I think it's dark enough
to be somewhere in the middle, it's light enough when I put
the sketch over it you can still see.
So you're still able to
see. So I think that's a pretty good tone.
So now I'm gonna sketch.
You don't want your paint to be too wet either because if it's too wet
it's just gonna - it just sits
on the surface and then again
it's easy to get dirty. You know what you do put on
it's gonna get dirty. So I wanna be a little bit drier. So sometimes
at this point I'm actually - well sometimes if it's too wet I will
take my scraper - I will just do it to show you - I'm gonna just kinda scrape
some of these very wet areas because I don't
want to get too -
like I said I don't wanna get it too wet.
So I'm gonna sketch in.
it has the print, the wording
is a little bit worn out. So this is my number four, it's a filbert,
that side kinda rounds off and
then the square tip. So I'm gonna use this for lay in
and I'm using a 16 by 20
so number four can work for the drawing part of it but
if I'm using a larger canvas, maybe like 18 by 24, I might use
a larger brush to lay in. So this is my lay in brush
You know so not too wet
like I said, seeing as the canvas already has a wash, so allow
see how you drag nicely.
Again same idea as the comp. I'm looking for my silhouette.
How my silhouette carries onto, again everything has a gesture
how that flow carries onto these fingers.
Shoulder right here.
Actually here's the tricky part because she's got such full hair and
little bit harder to see what's going on. So again,
that diagonal relationship, that
I use, look for vertical
despite all the curly hair, look for
that edge or that direction, not edge, direction, c
coming down. We can come back and curve it later.
See how that relates.
Get a sense of
where the back of her cranium, where the back of her neck,
again seeing as you can't really see it's something that you have to kind of
try to visualize through where the back of the neck and because that's where the
spine is gonna
come out. The spine is gonna
fall right from the back of the neck.
Looks like the spine is right there,
it feels a little - well it doesn't matter. I can
come back and try and fix it. I was gonna say it feels a little wide but it's okay.
Raise that hip
a little bit higher because
I feel like I'm gonna - I actually was
talking I forgot to do that
the frame so it looks like I'm not gonna get crop - if that happens
I'll just let it crop then. So here is...
Again I think that hip should kick out a little more. Again you get that
balance, that rhythm. So in this case this
swings back this way, this kicks out. Again
I did that in my sketch, I mentioned in my sketch I probably should turn
this line in a little bit. The front of her stomach comes in like this.
Or swing back.
So I'm actually - now I'm actually looking at
this negative space right here.
I kinda want them to, kinda unify
back in like this. So it becomes this oval shape.
Okay. So I'm gonna -
I always like to start with the darkest
color or darkest value, in this case darkest value, first.
So as you can see in the hair a pretty dark
but then I wanted to keep it transparent. So again I'm gonna just do a
wash. Not too much paint on my brush
So I wanna keep it transparent.
There's some shadow on the front of her neck.
Block in some of the dark or some of the
landmarks I feel like I need to, for example maybe here,
help me get a sense of where the
both thighs meet and around where her hip area because I'm
I might need to adjust somewhere in here I'm still not quite
happy with so I might come back and, you know, fix those shapes.
Okay so let's
put down the shadows. So obviously the shadows I got a little bit on this side
and also in the spine,
also the hip and they're not pure black
they have some of the - you can feel there's some of the
reflected light into that shadow. So I'm gonna
add a little bit of white.
I could have I'm just working with the gray scale so I could have just
mixed everything out the greyscale but I'm just gonna kinda work my way
Too much paint, again wipe out a little bit.
Oops too light.
idea of painting is that if I
like to use I guess the minimum strokes to
suggest the planes and also suggest the value. In that case
the way to do it you need to use a brush that's large enough to
cover that area. If I'm gonna work in here
I need a brush that's
maybe about that size. So maybe even bigger, probably even bigger, about this size.
But now if I work into here, smaller area, or the face
is then I might wanna use something in this size.
Obviously you don't paint the whole thing
with the small brush that you have because again what happens ends up you're just gonna start
scribbling and ends up you're not thinking about
the plane so much, you start basically it becomes
the texture of the brush strokes and
then it's not suggesting a value
volume or not suggesting the form.
I switch to my
sable because I'm gonna block in just a little
about the features.
So what I can -
what I'm gonna do now seeing as most of her body is in half tone and in light
I will paint that just
I wanna get a sense of how the whole relationship of the light like when
you see the whole light of the torso and then I will
paint the background and use the background
to kinda sculpt out my silhouette to bring the whole figure out.
You know today if I have a lot -
if I have more shadows, if the pose,
if the model has more shadow I will obviously I might, you know
paint the background, you know, before light but I seeing as this pose has
so much half tone and light I think I will just do that first.
So and obviously I'm gonna come over
grab a bunch of white.
Now I'm kinda making a
See that's why you need a
big pallet. Imagine when working with
color then you need, like I said, all this place you're gonna use it up
for, you know, shift the color temperature, shift the color intensity
so like I said you need a large pallet to be able to expand those
You wanna start off maybe a little too light than too dark
because again, while I start scribbling and
blending it's gonna get a little bit darker. But maybe not
Here we go.
And see how when you scribble in it's gonna get a little darker which, again, I can use that.
And notice when I paint
I sculpt the plane.
Notice my brush still - again notice I chisel a lot, chisel the plane.
It helps me to, again, keep my proportion a little
more in tune, instead I started, you know, getting too crazy
and it ends up my drawing get, you know, goes off and I'm
not thinking about the structures.
Again I'm creating a
and correct relationship of this light
shape of her.
right now observing the silhouettes.
I'm making a little bit of the half tone because I still need to refine some of the
area because the waist right here because it feels like
I'm not getting a clear sense of where that waist in between the
rib and the hips. I'm gonna need to come back and kinda refine that.
So now I can see here's my ribcage then here's my
waist and I'm kicking
to the sacrum.
Push that hip, that gluteus out a little more
this way, again push her hip out.
And now I need to add a little bit
of the thigh in here.
See it doesn't matter if I paint too light at the beginning
because like I said once you start blending, in this case I mix the half tone I start blending in
it's gonna get a little bit darker. Like I said my focus is gonna be
this part of her torso into the hip, everything above, below is gonna get a little bit,
you know, kinda a little bit dark so
I'm gonna start kinda creating that relationship.
Since thigh, the upper thigh, is going into space, that's gonna be darker
anyway and then the calf coming out is probably gonna be a little bit lighter.
Sculpt this plane, this plane.
And that's why I like to use the
the bright brush, the flat brush, because it allows you to do that.
You can't really do that with the filbert because, again,
the tip is round it gives you a nice stroke, gives you a nice shape.
For example if I wanna get a shape
in this shadow right here, in this spine,
I can just use that
filbert to create a nice shape. But
in terms of construction wise
I like to use the flat because
it helps me to think about boxes a little bit more.
And apparently in dealing with the figure it's
not really abstract figure, it's not really abstract form, so there's still
a certain proportion, accuracy has to be in there and
that way, you know, so I make sure
I spend most of the sitting to make sure the accuracy is there
then later on I can put some abstraction over it.
I just don't want to do the fun stuff at the beginning and later my drawing
gets off then it's hard for me to come back and fix it.
But even though this kinda alla prima type medium
I will be showing you guys still very kinda
intuitive, a very spontaneous -
you paint over, you paint again, you paint over,
until you find the right tune.
So in that case you do need to have at least a somewhat decent
drawing skills to be able to
have that confidence and able to take that risk.
And that's why, you know, for the first part
and the beginning of the second part, mostly I'm talking about
is, you know, drawing issues.
I want a nice black, kinda dark value here to
separate these two thighs. I wanna use, I think this is a good size
but I already have some white paint on this. In this case I need
to go into clean with my brush
and now I can see why I have a
vinyl glove on my left hand because this is the hand that I
use to squeeze out all this paint. So now you can see
why I have a vinyl on my left on size because this left hand -
because this is the hand I basically squeeze out the paint out
of my brush. You can see the paper towel will bleed through
you can see the shininess on the glove. Eventually
like I said if I don't those will get into your skin right and
I, you know, whatever even though you don't
smell anything still I'm aware I don't want
that stuff getting into my skin, getting into my body so I still
I wanna have a glove that's kinda still at least somewhat
Again constructing that hip.
And often, right next to the cast shadow, in this case
where the gluteus splits, you can see a strong cast shadow.
And often right next to the cast shadow you will get a stronger light
for two reasons. One because the edges, because a cast shadow has a hard edge
the edge contrasts, contrast gives you that sense of
that strong light, and second of all right before that cast shadow you will have a core shadow.
Right so let me make that little more clear so.
So that's the core shadow, that's where the light breaks into the shadows.
And then next to that you got a cast shadow
that's created because this hip right here blocking
the light, the light coming out this way, perpendicular coming out this way. And then
so what will happen is, you know, the part that is
blocking by this form right here, that's why it creates this hard shadow.
The cast shadow. The first change the light can get by this
hip is right next to, you know,
right next to the edge of the cast shadow. Okay so...
So we got highlight,
we got light, we got half tone,
we got the shadows, and we got the cast shadows.
We got some reflected light in here.
So the core shadows you see here
are it's a softer edge.
See here has a softer edges, we can blend
and then make it even softer. So light basically
All this part of blocking the lights is gonna create
this cast shadow. So the first chance that I can get
by that sphere is right
the edge of the sphere. So where is that gonna hit
bang right here, right around
Right so that's exactly
pretty much the same idea s her hip.
Let me step back, double check
Okay again I'm also putting a
an average value for her face. Again see how I just kinda
take off some of this the fissure I
just painted earlier, I don't -
I'm not afraid to get rid of it.
because I can come back and paint it
Again I can come back
to dig up that eye socket.
So you don't use small brush
for a larger area, you use a large brush.
Now I think it's time I can put some of the background tone
So I still wanna keep it thin.
I have a little touch of the - not pure black, just a little touch of the
gray that I have here. I want to keep it thin because I want just like a wash
A thin wash behind.
So based off the comp
let's do a little bit
Stand back. I wanna do it
around my figure first.
See it again so don't dip your whole brush in, just the tip.
Just a little bit. You don't want it too much because like I said that's mainly for
cleaning purpose. You can use it a little bit for just -
it won't work wet in wet but the idea is
if you look at my pallet, that
has no clear value. You got this glass
pallet kinda showing through underneath so that's, you know usually that's
not where you want your pallet to look like. You want it somewhere like
like this or like this. Give you a clear color, clear
value. Okay so then when you're adding too much of the gamsol
it's gonna start looking translucent like that. And then what happens is,
you know, when we're dealing with more of the color
for example what will happen if
you need a color that was in here but then there's no more so it ends up you have to remake
it and sometimes that can take you out from that zone
or sometimes you can't, you know, it takes you several
steps to try to make the color closer
again like break up your rhythm. So rather have a thicker paint
like have a clear color not on your pallet you can always go back, always go
back to know exactly where to go. If you wanna mix more, again, you know exactly
you know what color you need to mix to get to that color.
And that's why you can see I'm
a stand up painter because I always have to stand back
I'm gonna get rid of that
sphere diagram. So like I already have
thick kinda paint there so I need to use my paper towel
to kinda whap that.
Again this still is kinda like a wash,
I can come back but at least now it can give me a
sense of how the
value, the structure, looks like.
And you can see
better - like it can help me to see the proportion a little better.
So work into the half tone area.
See where that shoulder blade
right here meets that ribcage. That's where the highlight
comes down into the waist, kick up into the hip.
I'm always concerned about
Does the overall shape flow well?
How is the shape of the face
into the neck, into the ribcage, down
to the hip.
Again I start toning down
the lower part brings out the light.
See one other thing I like
about painting in a way a bit more
than drawing, I can have a little more
freedom to fix things around. Whereas with drawings you have to be a little more
but for painting I can paint over, repaint it. I don't like the shape
I'll paint over, I'll do it again.
I wanna make it darker in the half tone area.
I'll make it darker. I can play, I can see
how I'm gonna
how can I design this, you know, how can I push this,
you know, this painting
you know to that best result I want to achieve
So now I can see the lights are kinda
focusing to this area now. Basically this
is here's your light source coming up from the left side. That's your highlight,
that's your midtone, that's your shadow, right. So long as that's my big
relationships. I got some highlights in here, again, those I can
add those on but I wanna get that tube reads first.
That tube going this way.
light, light, light.
I'm gonna go to my face,
pick my smaller bright.
Seeing as I know, based on my reference I
think this value actually is not bad.
I can pump out the light here more.
sable brush, is just beautiful, it just works great in
this small area.
They keep it nice and kinda unison so you don't get split.
Sculpt - whoops - especially on the face, sculpt
the side of the nose.
Again I'm not gonna make it a really
Come back and clean up those lips.
The eye is taking me to
down here before that - in front of that ear.
That ear doesn't really have a
pleasing shape, does it? So I'm gonna round it
out a little bit but I'll see.
I knew it was too light.
Got a little
bit of shadow, cast shadow from the finger.
I'm gonna cut that side of the
into the finger,
which we can't quite see the finger, also I'm gonna come back and
do some of that.
But looking at my comp, she looks kinda
slimmer which I kinda like that, I'm gonna trim
here we go, that helps to
kick out that hip.
This is not really a good shape. See how straight that is, how even
Narrow on top, wider on the bottom, transition to that hip. I also
kick out the hip a little more. Again here's my
see how here's my gesture, coming in then come back in.
Come back in.
Constantly I'm working on the drawing.
Paint back some of that shadow
on the right side of her I kinda lost that in the background I'm gonna
Drop that down.
Darker. I'm gonna come back, blast a little
That's better, that shadow shape
trying to get that right shape. Sometimes, like I said,
you just have to go several times and
to get it right.
corner of that shoulder blade that catches highlight.
That's a sharp edge like that will catch, you know, catch some highlights.
Actually I'm gonna try something
to see if this will work.
Here we go, I think I like that better. Because I want to see
if I can raise up that hip, buttox,
a little bit. Just have a little bit longer legs. Like I said, I wish I didn't
crop this, the lay in process I should have built that frame, somehow I -
like I said I was talking and totally forgot
now I have to kinda live with it. But too again
everything about like that balancing act like I said just see if I can,
you know, bring out some of the hip. I might need to bring out some of the waist
to see if I can get a little bit longer length on the bottom. I just don't like to be
almost so equal, I feel like the bottom part if short. So let's see if
I can make that happen.
You know what and this is part of the painting
it's like - and actually it's not myself, I heard a lot
you know, a lot of my instructor and I
they would say they never know what their painting ends up looking like.
That painting is just a bunch of correction and mistake. So
but again it's
it requires, obviously again, it requires more confidence and drawing skill.
When you stand back and you can notice those mistakes then, you know, you
are willing to come back and fix it.
Or to make it better.
Yeah, definitely, I can start seeing I can raise up that hip, I can
give a little more of the leg.
Yeah and that kinda creates -
again I like this proportion a little better
raise up that waist line.
clean your brush, make sure - because that brush was
at the pretty dark -
had pretty dark paint. Now I need to mix somewhere in the middle value. I clean it
I have a lot of gamsol so I need to squeeze out pretty dry.
Still trying to find that right -
that right tune. Sometimes like I said it just -
sometimes it takes a little more time to find,
sometimes you gotta,
you know, sometimes you're having a good day, everything just works out nicely. And
this actually improve-
you know even though,
you know, I have been doing this for some time, I still - there's still
a lot of kinda searching and corrections
I have to do because I think the issue is that
I think you start expecting
a different - a little more of a higher expectation and results.
You kinda have a previsual knowing of how you want a painting
to look and you're just trying to get there.
Sometime, like I said it takes
a little more time and what I like to do is
because again seeing as we work pretty
impressionistic but mostly spontaneously to get some
more - some interesting shapes, some interesting edges, like we have to kind of
we're kind of finding that,
taking some time to finding that right look.
I've had a little bit of the refined linseed oil, again I wanna
more of a transparent wash, I'm gonna wash
right next to the shadow side of her torso so I can
separate that background of her back.
And today if I were gonna screw up
I'd probably be better screw up my
making that upper torso a little bit skinnier.
Lower part a little bit wider
because it will still feel kinda feminine.
Hmm that thigh feels
Here you go that's
a little better.
so what I just did - actually I do this all the time,
especially in my studio, I set out a chair in front of my paintings
and every break I will sit down and
then in front of my work and just look at my painting to see
what I need to alter, what I need to fix.
I usually have a little notebook I will write down the things I need to
work on and then
you guys should do that too especially if you guys like to sit down and paint, usually
you know what you should do probably you can sit for about a 25 minute
time that's usually - that's what
we do in the class which a model usually does a 25 minute
you know sitting. So every 25 minutes, you know, get yourself up and
step back away from your work and take a look at it. Later on I will show you guys a
different ways you can, you know, you can look at your painting, a different viewpoint, a different way to look at it
help you to find the mistakes, turn the painting upside down and, you know,
looking in the mirror and all those tricks.
So anyway this I'm thinking and there's still
certain things I will like to alter and fix
because I'm still not quite get to where I want this painting to turn out so I'm gonna
do some trimming,
do some kind of alteration on this painting and hopefully it will turn out
the way I will like it to turn out.
So let's get to it so first thing I think of I will like to do is
probably want to thin her a little bit, I wanna trim up this side of the hip
to see if I can trim her and again if I still like to
extend her legs a little bit longer
at least a little bit close to my comp, I still, you know, like the -
like I said I hope I had the whole figure but I think I just had to somehow
kinda live with this but like I said I will still see if I can
trim her hip and make her a little bit longer, make her head a little smaller.
Let's see how do that work.
And then what I'm gonna do is I'm gonna
speed up a little bit because I still wanna treat this as a
you know black and white comp just in a larger format, this
is again 16 by 20 canvas.
And sometimes what's good is that
it could be a day, it could be several hours
when the paint gets dried a little bit, in this case the paint is a little dry,
sometimes it makes it easier to hold the paint because
when you start to start a painting everything is, you know, still kinda wet
the paint kinda melts and sometimes melts in a little too
aggressively. Now it's slightly dry, it actually it feels
pretty, you know, it feels better. I can see the value a little more
So here's - so here's my ribcage. One thing I still wanted
to do is I wanted to - if you look at the reference she's actually turning
a little more this way and her hip is kicking up this way so I feel like
I'm not really turning her hip so I'm gonna work on that too so
a lot of times when you have
in this case foot got cropped off, sometimes it gets hard to gage
that overall pose and that's the part that, you know, sometimes
people will screw up is this not getting the whole sense of
the pose and in this case the hip wasn't turned like wasn't turning
instead you see by looking at the comp if I can - you can see how that hip is
And the idea is when we go down to the
hip it gets a little bit darker.
Sometimes, again, vary your edges.
Sometimes I like these kinda soft, you know, just kinda soft
strokes, just indicate where the shadow and at the same time it's not so
aggressive, like this cast shadow on that gluteus split. I'm probably gonna
soften that later.
So I'm gonna put the darker cast shadow right here, separate these two thighs
so it's a little darker but I'm still also gonna brush over it.
Like this - oh that should be a little bit darker.
Long strokes. Right now, especially when I'm painting the hair I wanna get that
sense of hair texture so I'm gonna, kinda again
drag my brushes.
And sometimes when you guys paint
and you realize things are still not holding together the value or even the color,
kinda usually that's when I go back to my
dark area. Usually the dark area, usually it's like
anchor - kinda anchor point. They anchor your paintings and they kinda anchor your
the overall that gesture, almost like connecting
the dot. In this case we don't have much kinda
dark area. Today there's a background,
there's costume, you can start finding those spots of dark and actually it ties up
you know that visual guidance can bring around the viewer's eyes.
And then also usually a dark area which has more - it has more
rich and more intense color and those
and a lot of times because those darks are not established correctly ends up
that kinda screws up your rest of value, your midtone or the
highlight. So what happens is you ends up keep adding white to your color
and trying to bring out the value because your dark wasn't dark enough and so
when you kinds screw up the value structures and screw up the color because
more white you add into your color, as you guys know, probably it looks more chalky
more chalky more pasty.
I'm not gonna get too crazy with those
fingers just because it's just so small I'm just gonna suggest it.
Actually you know what I'm gonna
yeah rework on that face. I don't like -
I wanna keep it more, like I said, more of a comp.
I don't want it to get too much detail to the face.
It's more it's about shapes.
I want to design it the most interesting shapes.
Or it can be darker because this is -
it's in the background - well not the background, it's further
away from us so I can make it darker to bring out this torso.
See how right now the paint kinda sits nicely
I want to open the space a little more.
Shoulder blade highlight sits right here so
all this here as you can see here is the
corner plane of her torso that's
goes to the front all this is in back, right, so all this should be a little bit darker
that where the light hits.
Again try to turn that hip.
Drop this down, move that up, bring
follow that rhythm coming down.
Push it a little
more darker. Because that thigh again going
Again that allows me to open that negative space a little bit more between the
Again take - look at this shape, how that
takes your eye up.
That works out better.
This edge is too hard.
So again I'm just gonna
block in the features on such a small scale.
Looks like the light source comes from below her
face so I can see the bottom of the
nose are more in light.
Maybe that's why the bottom of this cheek
also has more, you know, more light.
A little more. Well I still have to
did I convey
to the comp that I designed it because
my idea is to keep this more light.
Well I'll paint a little bit and then I'll see if it gets too much and then I'll darken
Think about whole lips
as one shape.
Make sure to keep cleaning your brushes because when I paint on top,
which there's already have underpaint
on the canvas
so if I, you know, put a darker value on top
I'm gonna get some of the white and I need to
clean my brushes and reload
and then mix it a little more and then go back and paint on top of it. Sometimes
take a little more - a few tries. And that's why for smaller
scale like this I'm not really suggesting to make it really tight because you
have to end up because I'm actually holding a brush you can see
it pretty far back from the barrel and also I'm standing
like about a foot away from it. So to get that position
you have to kinda sit down or I need to get a
stick and to make sure my hands are really stable. So for smaller
you know painting like this I usually just hint it.
See I keep cleaning my brushes.
How that ear
flows down to her neck.
I'm gonna trim the top
down a little bit so it helps to turn her head up.
Number nine. I'm keeping number nine so it's just a little bit of the
white from the darkest value, which is the
pure black right here. Just one step down.
I wanted to - the bottom I wanna get darker for the background so
the top a little bit lighter and the bottom gets a little bit darker. So
the background has that gradation also.
Do a little bit of transparent because sometimes what I like to do is I like to
have that wash effect, like some of these
tones, lighter tones, and then I wash a darker tone on top
that can kinda show through underneath, I kinda like that layers, that transparent
feel to it, like a white
in my brushes I need to make sure I clean it well because
I just want a nice, transparent, pure black
and again I -
some people like to use like liquid or medium to do that,
like I said I usually when I do alla prima I don't really use
those mediums. Linseed oil I use sometimes
but again I'm just afraid which I don't want some area to get more
oily, kinda greasy, more oily, and it gets shines and some areas looks matte
and I don't like that - I don't like that look.
I don't, like I said, at beginnings you can
varnish the whole thing at the end, which I
have to wait until the painting is completely dry
then you won't see the difference.
this becomes a -
how do I say it - this kinda artsy
affect. It's like how some people like to use this
creates some kind of mass effect. Which
is cool, is fine, if you know what you're doing. If it still falls within
the gestures, still is part of the composition, still
enhances what you're trying to say. But if not, again, you just
by copying you know some other artist doing this again
it's kinda missing the point. Again every mark you
put down is part of the composition, part of the same, part
of kinda visual guidance.
Side gets a little darker so does the reference.
Just do one big stroke.
This leg a little bit, brings out the hip, brings out the
Remember yesterday I said
the - earlier I said
right next to the cast shadow is a little brighter.
So I wanted to kick out that little light right there but I don't wanna make it too
contrasty because that's not the important area that I'm
See how when I was trying to feel the rhythm these just
kinda almost line up. I don't get a flow, should I come this way or should I come this way.
go like this
and come swing down like this.
Here is where that set comes,
that triangle little
that you see that little dimple,
kinda sits right here.
Sits down here.
And this is how the axis of her
So her pelvis turning this way.
So checking everything works
well as a whole.
Okay let's give some light.
Make sure the light shape has unify.
I also keep the light shape kinda dynamic
dynamic means I have a sense of
Sometimes I just see how far I can go.
I mean I can -
I'll blast out really loud
and if it's too loud I'll come back and calm down a little bit
but I wanna see how much I can
push because a lot of times I can -
people are afraid to push so they kinda almost keep int heir comfort zone
I want to see how
how much I can learn from it so next time I know
my, you know, my range.
Again I wanna
keep this more of a kinda
subtle glow. That's why I kinda light up that half tone a
There we go, that's better.
So that contrast earlier, I wanna
keep this more of an even, I guess,
a little bit higher key.
So I'm just kinda
again just refining a few of, kinda unifying
a few of the
kinda shape and rhythm
the see how does that shape flow to the...
See how it travels - the light
travels up, comes down.
We're almost there
so yeah there's...
Bring out this round rib.
Bring that hair down.
of the hair.
Again okay so I can keep going on and on to refine
some of the, you know, transitions.
But again that's just a matter of time spending.
Okay but I think right now I like how they turn out in terms of the
overall value structures, you know, I probably should have stepped back and taken a look at
it again and to see the
overall - in terms of composition wise obviously just this
kind of single figure on the canvas. But again
the transition, the light, does it feel, you know, does it feel smooth, does it
still have a nice gesture of the figure.
Like again this is probably still things
you know little things I can still work into it but I, like I said,
just a matter of spending time putting into it. But I think at this point
in terms of, you know, getting some of the big ideas down, I think I
kinda like how it turned out now. Okay so hopefully
you guys get something out of it and we're gonna still -
we're also gonna work with black and white,
we're gonna be working with a still life, the paint application
and value structures, composition, you can also apply it onto the still life.
And later on we're gonna start working with a limited pallet and we're gonna have - we're gonna
talk about colors, a little bit about the color
since it's still a limited color and then we'll go on from there.
black and white photos and what I want you guys to do is just get a
16 by 20 canvas board. It doesn't have to be stretched canvas.
So basically this is 16 by 20. So and again
get artist tape, get the half inch artist tape
and then tape it so it can divide them into basically 6 little
frames. Then what you guys did with first chapter, same as you guys
did charcoal and now you guys are doing the black and white paint and I do want you guys to use also
use a black and white picture for these paintings. Okay.
Free to try
Watch the whole lesson with a subscription
2m 48s2. Palette and Brushes
9m 6s3. Mixing Paint and Toning the Canvas
19m 34s4. Laying in the Composition
21m 6s5. Form, Light, and Shadow
29m 42s6. Turning the Form with Midtones
17m 41s7. Adjustments to the Composition
32m 26s8. Rendering the Face
32m 22s9. Final Touches
45s10. Lesson Assignment