- 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 adds additional colors to the Zorn palette and demonstrates how they can be used while painting a figure in an environment.
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So today we add a few additional
colors. So we're gonna actually do a figure
in a kinda environment set up. It's gonna be a complex set up so I'm
gonna talk about the composition a little bit, the visual
guidance of gesture, and how to compose the image. So
the color that we are adding to our
additional - to our Zorn pallet as you can see, you know, we have a veridian
green, cerulean blue, and this is a transparent
red oxide from Gamblin. If you can also
use a Windsor Newton burnt sienna,
it's kinda in that burnt sienna family. Which I like
using - I like to use the Gamblin transparent red oxide
but if you are getting the Gamblin brand don't use their burnt sienna
for some reason their burnt sienna is really dry and opaque.
So but the burnt sienna from Windsor Newton works fine, you know, it's kinda like
this kinda transparent, nice, earthy orange.
This is our cad red medium, this is our yellow ochre. So basically what
we did was that we added these three colors. Again, transparent oxide,
or burnt sienna, burnt sienna, cerulean blue, and veridian green. Actually this is
a nice pallet. It's - if you're not
doing a full pallet set up
this actually works pretty nice. It's simple and, again, you still have
your primary colors, you got blue, you got green.
So actually I like this set up. You can do nice painting with just this
sizes a little bit. This is 18 by 24. Still it's on a canvas board.
I never know how many brushes I need so I just throw a bunch of different sizes
out. And so let's just get started. So
as you can see the reference, there's a lot of things going on.
Okay so you got this kinda bookshelf off to the right,
this dark bookshelf. You've got this figure reclining on
this reclining chair, you got this vase on the upper left, you got this bust
of a head on the lower left, just so much going on. But the one thing
I do like about and that's the reason why, you know, I also like this image is
I like this kinda gesture
kinda running through from, you know,
from the right corner almost the black - the bookshelf
can work as an entrance of your viewer's eyes. You take your eyes in and just kinda
flow right to the figure and take your eye this way.
Okay so I need to - I need to
play around and to what I might want to leave out,
or I what I want to keep. I want to overlap
a little bit, how I want to crop it. So I still - I need to consider
how I want to do the compositions. So far what I like, I like this, it comes in
like this and the vase goes up and then the flower shows a cast shadow of these
flowers throwing back to her. And these three
objects, the face, you know the bust of the head and this globe, creates
these three dots and kinda help to frame this figure. Okay.
At the same time you have to be aware of they don't want to overtake
the attention from the figure. And these guys are very white.
And so I'm a little worried that they're gonna take away from that
attention. Also the bust inside the shelf I might just do a
solid black -
I might overlap the globe over her arm
just to get a little bit of depth. I'm just kinda
wing it, try it out. But the big idea in those I wanna
get this and this. Okay obviously
chair coming out towards us this way, so the perspective coming out this but
the gesture of her swings over this way. So let's
see. I'm not - I'm actually
just gonna go straight onto the canvas
and which I usually suggest if you have a complex
set up like this it's probably a good idea to do like a small,
like a charcoal comp like what I did for the first part
of these video lessons. But today, like I said, I don't have that prepared so
I'm just gonna go right to, you know, search those
relationships right off the canvas. So first things first let's tone
So I'm just gonna -
a lot of warm, the chair's very warm you got those red claws
and I feel there's a sense of this warmish
inference to it so again take my
nice transparent red oxide.
One other thing is if you guys -
on the first day I talked about how to clean your
brushes. This recording I'm doing now, it's
day after day so what will happen is
I'm not actually at the end of the sections, I'm actually not using the dish wash,
the dish detergent, to clean them.
Right. Because what happens if you use the dish detergent, basically
I run through the water and what will happen is if the brush is not
dry by the time you're gonna be painting again, the hair is gonna be
like floppy. You're not gonna have this tension to it and you can't paint
with a wet brush. So, but if you are not gonna
paint, you know, right after, like the next day
or maybe I'll paint tonight. If you're going
to paint tonight, like I said, just clean it with odorless paint thinner.
You know that would be ideal because
like I said you don't want the wet brush.
You can't paint with that.
Again just get the canvas
kind of start active, you know, get paint
on to the canvas, scribble in, push it in, whatever you want
to do it again I like to hold my brush like this.
Gonna dry it a little bit because this is
too wet, see, any paint you put on
it's just gonna melt. Melt in. So you don't wanna, you know,
be that wet.
Fold my paper nice and flat.
See again why
you want to tone the canvas with transparent color and not opaque color, which
we just saw. If I, for example, if I do put a like
wash something with, you know, opaque color like this
and look what happened, everything starts getting
chalky and this paste on the canvas. And again, everything - every color
you put on starts getting chalky and pasty.
Okay. So although
like two lessons ago I do use the cadmium red medium but
I, like I said, I add a lot of gamsol to
thin it out.
Okay so this is my wash. I can
see I darken the right side and bottom a little bit because
that's kinda how I wanted the mood
of the painting to feel like. Okay.
let's get this sketch in.
I need my filbert brushes.
Okay I'm gonna use - I think I can use this one.
So I'm using - normally I use the small one for the
16 by 20. Today I'm using a
18 by 24, maybe I can use this one.
Okay. So this is number 6.
So let's see what I want to do.
Like I said I want this to come in and then just I want
her hands, her hands will be right
this comes in.
I want her hand
to be about somewhere right here.
So the vase is gonna be -
see the way it's gonna be because I want this
diagonal relationship. Vase is up higher.
And then the head will be somewhere
I want the head - the gesture of the head pointing towards
the figure so I'm gonna move it a little bit more,
pushing this way a little bit more.
And this part too, it's the shoulder girdle part.
I'm not sure the color part, also kinda
Again look for this relationship
That corner of the table to the tip of the
One thing I'll be concerned about is
again if I'm trying to make sure
how everything relates and turns to graphic shapes. Okay so
how does this shape relate to
you know to this triangle shadow right here?
How that -
how this basically takes to her foot, right here.
Look for this graphic shape and how this case shadow you
can see how it merges to that arm, the further arm of the chair
coming like this.
The silhouettes, watch out for that
See that shape right here.
You know her hip.
I like to keep this closer because I want
this to dominate this, you know, this side. So I want this to come in a little more.
You know that side almost looks like a cityscape with the side building
comes into like New York, Times Square building, you know, comes in.
Usually you want to decide if you want this side to be
taking the whole side of the frame, which
I might have that red clock of that globe just kinda
crop it off, then you wanna leave this side open so, you know, show some floor plane.
Because you don't want them both cropped. Okay so
but again you have to consider everything at the same time. So I wanna make sure
she's floating like - coming in like this.
Get that chair.
And I like this red, that
back of chair I like those triangle shapes.
They line up so close.
which I might
raise this up a little bit higher. I'll keep this
a little bit lower.
That might put her hand
into that bookshelf. Maybe I don't want that.
Maybe it's okay too because I wanna make sure this
space has to work.
It has a slightly
curve to it, if you look very carefully to reference slightly curve to it,
this is the thing about curve, okay. I talk about this
greatly in figure drawing too. A lot of times people will just see curves they just
draw a curve like this,
which if you look at
on a flat perspective, looking straight on, yeah, that's why the curve
I probably should look - you've got an apex right in the middle of that curve but this
curve, in this case this chair turning into perspective,
or imagine a thigh
or a leg basically.
Like coming towards
What happens is look at where the apex goes.
Alright so it's not gonna be right in the middle, you're gonna be shorter
distance back here and longer distance over here. So you get a sense of this form,
this structure coming towards you. So here, again,
my apex is about right here and then
my curve continues, rounds out to the foreground. But I wanna make sure
I'm not doing an even split, the apex right in the
So where that chair - and
this corner to me is important because this is connected closest to
our viewer, right, that corner, that leg of the chair.
And I want to make sure that goes right in the middle
of the pictures, right. I wanna make sure it's coming - so I wanna make a mark
which I put a dot to remind myself or
just to, you know, that's where I want it to place
again gesture running this way. So I want him to
this thing to be more like on the left side of the
There's that carpet
kinda coming out.
because if you look carefully at the reference, this part, the lower part
of that chair even though is pretty dark you can still see some of these kinda
warms showing through. So what I'm gonna do, I'm gonna put that warm down
first and then later I can almost like a glaze
a darker, those textures on the
over it. But I want that warm still underneath to still kinda showing through.
Actually you know what I can just use this, whatever's already on the canvas.
Bring your eyes here, coming over here,
coming down, kick back over.
Or you can go out this way, come back to the carpet, come back here,
bring it back to the head, coming over to her foot
into her figure, her arm, and stop by
the frame, come down, globe.
Check, see the sizes. Again I wanna make sure
these three objects are not competing with each other.
This side comes out more, this side less.
Actually I might just have kinda
Again I'm thinking should I have the globe
overlap the arm?
Well what the heck let's just do it first
and if it doesn't work out we can move it.
The hands - it's
about right here.
Again, I'm just gonna do
pick up and just give me a sense of where she's gonna
Again look at these shapes in relation to the
light part of her leg and the thing is I also know
if I'm gonna screw up today I'd rather have her leg coming towards us more.
Come out towards us more and kick back up.
Step back to see that
good placement compared
to the overall.
Maybe I'll make the hand a little taller,
kinda swing down like this.
Yeah see how that glove is kinda tangent to her arm.
So maybe I'm not gonna do that, maybe I'll move the
globe over here a little bit
to avoid to touch it. Okay again let's move around
block in some darker darks.
I got this front of the chair it's
just in this black silhouette. So I'm just gonna
block that in.
I'm also gonna block in this part.
is still kinda wet. The canvas is wet so
especially still working off very transparent paint, there's nothing really kinda
graphic on the canvas. Later when we start adding, making a little more opaque,
you notice later when I'm making a red they're gonna sit on the canvas a little better. But
right now I'm just gonna kinda glaze some of the dark,
area, just to
making those kinda anchor marks.
In a few hours when it dries and I can come back and
glaze another black over it.
See once if I add a little above
the cad red, see notice it sits on more flat
not so transparent anymore.
I can't see anything going on here so I'm just gonna
make it some type of warm dark.
But I can see this nice dark shape that
flows right into
the red cloth
up and also
it comes out
to kinda show where that floor
you know this part.
Okay and also like
this triangle shape comes in like this.
See it's all about how shape leading to
to each other.
I'm gonna play around
the dark, like I'm gonna paint this shadow right now. I'm gonna use some of the kinda warm dark
because what I pretty much only
use is the red and the burnt sienna and the black
so let's try - I'm gonna paint here, let's, you know shift
in a little more bluer.
Still very dark. On the photography
you have to watch out because this is a cast shadow on this kinda,
light kinda drape behind
this is not that many other light sources around it so you just basically that
one main light source has strong light. So there's not much light bouncing
to, you know, into the environment. That's why you got such a black, such a
dark, you know, shadow. Probably this drape
probably about a foot behind this red cloth so you kinda - the cloth
kinda blocks the light source, so it the vase, so you got such a black shadow.
I might not want to use that black because I
want this to be more dominant, that book shelf, because that's just such a strong black that comes in.
And since this is cast on the lighter cloth I might wanna kinda step
up a little bit. At least for now because otherwise this is already dark, this is really dark,
this - it's just a lot of kinda just dead, kinda dark space.
So let's just do that for now. At least that's how I
you know assume, you know. And again
if later with more stuff blocked in it doesn't work out then we can
I want - you might want a cast shadow shape
although it's just a round, almost a sphere shape. I still want it to kinda point
to the figure.
And that's why you notice,
you know, I paint with just clean strokes.
Right now I'm finding shapes, finding directions. You know don't get
too crazy with your stroke, you still have to think logically how I
everything leads in the most simplest shape, most interesting -
most interesting shapes and at the same time has, you know, where
those direction or gesture of those shapes, you know, take your eye too.
One issue with
oil paint, and obviously
is the glare. So sometimes depends on your strokes, you know sometimes when you
do a, for example, like you know most of the time
in a classroom situation the light source is probably above you. In my case
I'm actually doing this recording the light is on my corner, it's on the side like this.
So the light can basically hit on the canvas and bounce off. Just like
what the photographer would do for taking pictures of a painting. it's just a tricky -
it's just a very tricky thing to do to take a picture of an
oil paint. It's just - no matter where, at least for me,
I don't have professional set up, sometimes I have to literally
take my painting into more of almost a shadow area so there's
not much light and take a picture with no glare and then later I'll
maybe I'll bump up the contrast near the end a little bit.
So in the classroom setting there's the light source
is more from above so if you take a stroke sideways like this
what'll happen, guess what happens, you're gonna catch glare. And when that glare
it will play a trick on you because what will happen is it will be hard for you to actually
see that actual value, even the color, because you got the shines on the surface just kinda
bouncing off. It can be a little bit annoying. So sometimes if that's the case
you know just do a stroke this way so you don't catch a glare.
And but you can see that's why here I'm catching some of the glare because
the light is coming from the side. But I have to do it
because that's how I feel the shapes, feel the gestures, you know,
so basically I'm just kinda letting you guys know. Even this catches a little bit of glare but if I don't
like I said, if I don't like it I'll just flatten it out like this. See it's already
got my shapes done.
But like I said I'm a shape and
kinda focus painter
and I think every painter does, not just me, so I really need to get a
sense of, you know, the stroke and the gesture
of that shape. Like again how this leads to this.
So the stroke is really dominant, you know, the composition that reads - at least at the beginning
stage I wanna make sure everything works
together so I can see it, so I can see how this coming out
this way - oh that's too black.
I want to make it a little transparent so let's add a little bit of red.
See how this goes
up and this, you know, kicks out. And again how this goes up
and this shoots out like this
and goes back up this way.
At the beginning of the stage you saw composing, you know, it's about -
it's not about form or three dimensional
structures, it's all two dimensional.
Every length, every space,
As you can see
I'm just basically looking at this long triangle
shape, taking your eyes over to here
when I get to here it gets a little bit orange, gets a little bit warmer,
I start adding some yellow
because I want
this corner right here to pop. Probably need to push
I wanna go up here because
it's darker so I just go into my darker pallet
just move over to the left.
one important shape so I wanna make sure to
carefully observe where I want that placed.
Okay. Blocking some of
some more darks.
Help me to know how things tie up
and connect, how I want to guide
you to read.
Let's do red here.
Concern about the width, the size of this red cloth right here.
Might be better I'll just trim a little bit
because I think I want this to pop out a little more,
this one receives a little more light so this is gonna be like kinda a little more orange red, that's more
like - almost like a purplish red, so that actually sits, you know, sits up at the background.
So if I want this
to pop maybe I want to string down that size a little bit.
Let's do this first. Like I said a lot of times you just have to
put stuff down and later just
tune them. That's kinda how it is.
Before I do that, let me do the glove.
Globe. Keep saying glove.
bright, really light, so I'm just gonna mix a light
value. Exactly what color I don't know because you got all this
image is on it's hard for you to tell but I just know overall it's a light
ball. Stand back.
So what I was thinking, again, I wanted to see what the best placement
for that globe to
still work, you know, cohesively
with the rest of the object. Her hands right here I wanted to draw a diagonal relationship
to see where I want to place,
how big in relation to that vase
try to make some of those
I was still wondering because this is so close,
see the edge so close to the arm. But I kinda like
where that globe is. Maybe I'll move the arm over
a little bit.
Let's just do this first.
Smaller areas, small brush.
Large area, large brush.
So it's more of an orange red.
Add a lot of yellow ochre to it.
Not very bright huh?
Well probably because I've got that dark tone
Crop that off.
Just pick out some of the folds, the shape of the folds that
little triangle falls right here. Here I'm just gonna wing it.
Just get that whole silhouette which it reads right.
We got this part, kinda goes out
crop out, and this part.
Clean your brush. I'm painting over a dark
Might just paint that white base seeing as I'm already panting the light here.
Let me pump this up a little bit. The image of the -
we can somehow feel a little yellow,
I have that yellow ochre, the
warm to it.
Usually it's better to overdo it and then bring it
Maybe I'll just use pure white.
I'll save pure white for light side. I feel like the half tone has a little bit of red
in there. Clean my brush really well because
if I'm not I'm just gonna waste paint. Keep
dragging, adding white to make it more whiter but it's because my brush is
Can live with that for now in terms of the proportions.
Clean my brush, it's still dirty.
Get another brush with a shadow
Okay. To be honest, any
that probably could work, as long I need a darker value, right,
this is my lights, my vase. I need to make it a darker,
basically a shadow of that vase. It actually is kinda hard to read even off the reference. You got,
you know, a little bit greener up there, got a little bit redder down
here. So what I probably want to do is I -
the red I know is reflections from the cloth, I can add
that up to it. I'm gonna paint this whatever that color is
which is kinda this grayish blue or green.
And then like I said, as long as
this is darker, get a sense to see if this holds up to this family,
the harmony of the color. Maybe add a little bit of red to see
if that feels harmonized a little bit and it feels, you know, better than before, maybe before it's too blue.
You can always push too much
and come back
Okay. We'll see how
that goes. I don't want it to
feel kinda floating I'm trying to see that
I'm thinking to make it
a little bit longer or
I want this - I was so concerned
about this to that corner of the chair and I'm so concerned
this is my favorite part, which that swing up of that neck,
the shoulder right into the chair
but I also am concerned about this globe.
So keep it simple,
just limited pallet. I don't want to get so much pinkish stuff. I'm gonna scrape
this out, just gonna almost just like a black and white.
I like that little opening
I just screwed that up - I like that little opening right here, goes through the side of his neck
comes in, and then just throw
himself over that way.
Let's make this color rounded
to see how he's situated.
And that's a good size. Even a little bigger is fine too. so I got this brown
brownish, purplish colors. Almost looks like -
I don't know how you guys will see on the camera because it's so kinda dark but from my view
you have a little warm to it so I'm gonna basically go to here
and kinda lighten it up.
more step darker.
I can go with this,
a little - actually
just make it slightly warmer. Okay.
And then some of the underground show through, kinda like that.
Don't make this straight.
See once you have color, solid color on the pallet it's very
quickly you can mix back that color.
you know, give some thought to it,
and we're gonna come back basically, you know, blocking
a little more. I'm probably gonna -
again my most concern - obviously this is for,
this is for demonstration purposes, I paint much more slower because
I want to talk through my process. When I'm doing myself I'm actually going
a little bit quicker because I kinda let things go a little more
organically. But again, it's the same process,
just kind of, you know, paced up a little bit. The key components
is about how to arrange your objects in terms of, you know, giving the
best composition and best relationships, you know, to all -
to everything that you can see everything has
reason to be there.
And what's great about taking a break is because
every time you come back you got fresh eyes
you see things a little differently and painting from life
you know usually the model is not gonna go back
to, you know, exactly into the position. The hair might move
a little bit, the dress, you know, the fold might be different. Sometimes
the silhouettes even might be different. But sometimes that can be, you know, can be better.
Benefit, you know, give you a different view and actually make, you know,
make even better decisions. Unless it's something that
you kinda establish, you don't want to move,
you think that's the best part of your painting then you can tell the model to get back
to that position. But usually, you know, if something is
different I just kinda go with what the model.
Let's paint the shadow side of that bust.
I just take whatever the drapes
and just kinda make it darker because I kinda know
somewhat the drape color is going to inference into that bust. So
I'm just gonna, you know, use that. As long as I get my value right. If I need to shift it
the temperature I can do that later.
Actually I need to shift a little bit warmer, add a little
bit of the red.
Look at this distance right here.
Come back with the light side.
I want to make sure - again I'm not worried about the
eyes, you know, the iris. It's just a subtle
shift in there. I wanna make sure I'm painting how I look when I
squint my eyes.
Again, if you can simplify it,
simplify it. All the...
Light comes this way so you get
this roundness right here.
away from the light, the light shape gets smaller.
This feels a little too symmetrical for
me, I'm gonna push this.
This side comes out a little more.
I'm gonna push that shape.
That straight versus curved.
Stand back and check.
Comes in, goes out,
come in, coming this way. Okay now I see
,a problem. See if I come, go - I like this
I like that little curve that I added in. It brings your eyes in
and they swing out this way or the shadow will swing out this way but when I get to here
you notice this almost kinda brings your eye down.
Coming out like this, almost like you're doing
a top swing out this way and the bottom swing out this way, kinda you're doing -
this type of this. So what happens is your eye is not sure, should you go up
or should you go down, right? So today this is my gesture I
want to flow this way I think this is fine but I might want it to not bring
this down so much, I might want to lift that up.
move up. I may pop in some shadows
on the figure.
Again work around
Get a sense of the head in relation to the
I'm gonna try to cover as much of the canvas as I can
Again I get those big dark shadows. Almost looks like
pitch black. I'm still gonna just add a little bit of red.
I'm gonna just, again, I'm just afraid if I
put that solid black and then there's no more room for me if I wanted to
light, you know, feel transparent.
You know if I make it a little less
like at least have room if I want to push to pure black I still have
a little bit of room.
So add a little bit so it's not pure black. Again, if I want to
make it more - like if I do wanna make it black, like I said you
can see there's still room for it.
Back here I don't get as much light as the front
so the back I can use more of the black.
Got a little hard to read down here,
I'll probably come back to this area later. Can't quite see it
both from reference and from the canvas.
Canvas because I got glare and reference it's just a dark area.
Like I said I'll come back to it, it's not a hard area to fix.
I wanted to go on to somewhere else. Let me block in some of these drapes.
So where should I go? It's kinda
greenish, ochre greenish color.
Gray greenish. So where should I go?
I think this is pretty close to it, right. So I'm gonna come over here.
A little too bright. Add your
black, make it a little bit darker, red, make it a little bit warmer.
Want a little bit greener.
Okay how does this shape lead to
her leg and up to her arm.
Into the globe, down to her chair
Let's put that back right. And this kinda the same, pretty close
similar colors. Gray,
kinda warm gray.
I think I'm gonna make it a little bit lighter.
I can mix my gray using this cerulean blue and black.
See that turning gray?
Probably this is not this cool, not this blue.
More white. That's why
you wanna squeeze that long, narrow, like a long warm
shape of white so you can, you know, keep it clean.
Warm it up.
Squeeze out the excess.
Paint and mixing again.
Warm up a little
Always be aware of the contour.
Feel a little
more interesting, just add some orange in there.
Come over here it gets brighter, here actually I could use a little bit
of a dark.
Okay I need to
watch out for my strokes
so it won't catch glare. Again, large area, larger brush.
Add a little bit of blue because there's a blue light.
And also one thing about painting
always need to get a sense of where that light source and how the light
influences the painting. Actually that's very
important. That's how we see because the reason we see because
the light source. So how does the light illuminate
give a separation of that shadow to the front end of the arm.
On the arm on the chair of course.
how the reference shows. I want that
little cut in.
There's certain things I don't like,
like especially this area. You see how this part, that kinda
umberish cloth underneath this red
you got the chair like here. So these three elements they kinda collide
in this dead tangent zone. Your eye
kinda goes here, goes here, goes here.
Later I need to free that space. But I'm gonna just work on the figure
a little bit before I get to there.
I just add a blue to cool it -
cool it off. I could have added green
because I think this light source mainly is blue so I'm not -
that's why I use the blue. Maybe at one point I will use the green too but they are both
gonna cool down the skin color, the pink skin color.
A little bit more pink.
A little bit of orange.
Again wipe out your excess paint.
Go up gets kinda yellower, dirtier.
Go up, yellower, dirtier.
A little bit lighter.
The hip is really light.
A little blue.
Just indicate the light source.
And that's why later on, when we use
a full pallet you're gonna notice that's one paint color that I have, got
radiant blue from Gamblin. It's that lighter blue, kinda like a baby blue,
it's pretty much the cerulean with white so I don't need to
keep adding cerulean and the white to make it cooler, to get a sense
of that's there a blue or fluorescent light or blue light source hitting on her I can just
use that and put it right into my light side or put it into the shadow if I
want to light it up or if I want cool it. So
that's me - when I get to the full pallet. But for now I'm just gonna use that
and add white.
Don't screw up, it's probably better off to
make the leg a little large.
What I was doing, I just look at this shape right there.
Both feet, one foot at a time, the whole foot and that negative space.
So all you need to do is you need to take your red, go back to your dark red,
this way is darker, this way is lighter, this way
it's more, you know darker, earthier, this one is more yellower
and more intense, more oranger.
And then just go do that.
A little bit intensity too.
Let's do that.
Turn the form.
Make this - should be,
could be a little bit thicker but
light shifting, now I'm gonna make it lighter
about here I'm gonna make it blue here, I'm gonna make it a little bit pink.
I'd like to shift things around but as long as I keep my value right on the light side,
I'm looking at the light, my light pallet - sorry, my - yeah, my light side of my pallet
but the dark side of my pallet, my gray, you can see within my light
you got blue light, orange, yellowish,
more kinda gray pink, you got your gray area, you got
your warm gray, right, you got your green gray, you got
your blue gray. This is my dark area, you got your pure black all the way to
warm black, coming down here to slightly cooler black
so I have my value going this way and also have my temperature
shift kinda up and down. So I think it
works kinda nicely for me to keep, especially as a, you know,
a figure artist I need to make sure to make my value correct. And then
you know sometimes I can sacrifice my color a little bit
as long as my value and my
You know I can sacrifice a color and I can
push the color back in, again look at reference, how beautiful that shape is, it goes
against that contour. I need to come back to dig out those shapes.
So I need - I
wanted to bring back into this shadow shape
of her hair and also the cast shadow on the chair is kinda dark
where do i go? I go right here, dark red.
Her shadow turns really yellow and her
arm pit so what I'm doing I'm just adding yellow into my shadow, my dark
Now I got that triangle shape shadow, you see that too
but then you also see it's darker here. I got a little yellow here right below her breast but then
I got a little darker right at the top of the ribcage. I got that yellow, I
got that yellow, I just need to mix a little darker yellow.
I have a dark value around it, I might want to do - I think
it works better since it's yellow to shift into this
yellow green instead of just kinda the orange red
you know as everybody probably would do just because it's kinda almost in the same family.
I like to shift a little bit, you know
different. Let's do like a darker
need a little bit even darker.
So far so good, I like again, you can see how things
are evolving now and I think all the shapes work together,
it's kinda the number one most concern.
So I spend
almost 90 percent of the time just focus, you know,
focusing on that.
But right here.
Merge into the breast. The underplane of the breast is really light.
Here the pelvis turns ,
this plane. Gets a little darker. Looks
darker and looks kinda great right. Darker,
looks grayer, so let's go this way.
Then I will think about all this kinda greenish
dark gray or bluish gray
Looks like a little bit greenish gray.
Not strong enough.
Let's push it a little more.
it again. We start turning. We can push it a little more.
Make it a little dirtier
here you go, I think this might be
a good color.
Yeah, that's better.
Goes into that waist, side plane.
over here, you can see it gets kinda darker, brownish color
I want the shadow shape - make sure it flows too.
Flow means - again, flow this way or flow this way.
And get rid of
that belly. I don't quite like this belly, I feel like
maybe even feels like off place.
kinda flow to it but I think the
spacing is still - I'm not quite satisfied and spacing means
the light versus the shadows. That probably also has to do with
proportions too but I'll leave that alone first.
I'm more concerned about the overall.
A light that on the reference just kinda flows.
This I probably wanna keep it a softer edge too
I don't want that to be too hard of an edge. I can keep this hard, I can keep this a little soft.
I'd like this to come down and then like flow into...
Not quite there, maybe...
I can separate this too like the one knee is behind now is
just a big old shapes, light shape. I can separate by just
make that back knee just a little bit darker.
Like this. Maybe just push it a little more, make it a little dirtier.
Still is somewhat in that pink
warm family but not this pink I don't like this. Well actually maybe we can -
maybe we can
be aware of this shape we're looking at.
And then use this
to sculpt out this
light shape right there. I might need to tailor a little more
later but for now I'm just gonna leave it.
Just got a little too
straight, the back - the hamstring.
a little bit. Like this.
Might be a rhythm. Swing this way.
Swing over this way. Okay cover over, swing your arm.
Guess I wanna maybe pick up some of the - the paint will pick
out some of this shadow color which is a darker value. I can use that.
I can actually use that to give a little gradations.
Okay if I'm gonna screw up.
I'm gonna screw up by making her leg too long. Alright so
I'm gonna switch to a bigger brush.
Looks really light so I'm just gonna not worry
about the form yet I'm just gonna turn to
very pale too, I'm gonna come into my gray side,
gray area because here is a little bit intense, here it gets even more intense.
And one other thing
about color, also
about painting it's like sometimes
the more you stare at it
the more color you're gonna see. And that can be a negative thing
because now it's like you see all those colors. But
you know then sometimes you forgot about the color
harmony. Color harmony means the key colors
of that painting. Imagine
if you do a landscape, it probably overall will feel bluish because the sky
overtaking all the landscape so that blue becomes that main color, key
color to harmonize the whole elements.
Everything else. So obviously
that's why you always have to know what the light source color.
There's gonna be two light sources, yellow and a blue but that's, you know, it doesn't matter how many light sources you have
that means every light source is a color. All the planes
that are facing the light source basically were influenced by that color, by that light.
That's how we see, like I said earlier. There's always
that logic in your head. So keep your paintings in tune, otherwise
there is gonna be a pink, a purple, orange, you're
gonna start - the more you stare at it the more color you're gonna see and you're gonna go crazy, you're gonna get confused.
And then, like I said, either just turn your head away, step back,
turn your head away, and look back to your painting, look at your reference if
the instant color and value that you see that's
the color you wanna mix. Just disregard all the secondary
color comes in. Mix that and paint that first and
later on you wanna shift temperature, whatever, then you can do
it on top of that. At least you keep that color in tune, keep that skin,
either porcelain pink or orange flow or whatever
the skin color is, could be a darker brown. You need to - so
in the key, make sure, you know, I wanna shift
green but it's still within that family. I wanna shift orange it's still within that family.
Right you don't wanna get out of that color wheel.
Again now I'm gonna mix - right here,
right over the side of the arm pit feels a little more yellower. I take my yellow,
this is my skin color you guys already know.
So I take my yellow I basically, I need to make it a little bit yellow skin color.
I'm not gonna go over here, I'm painting the light side. So I'm gonna come here, mix some more yellow.
I'm not gonna come in here because it's probably gonna be too gray, my yellow's
not gonna feel intense enough. That yellow feels quite intense. So that's
where I go. Right. It's on your pallet.
And the other thing, if I stare long enough
almost feel like the shadow, this arm has some greenish to it.
What happens if you just take green and paint on top, that green just feels
incorrect. So again you need to mix the green
that harmonizes with your skin color. So it needs
to be on this pallet, somewhere in this pallet.
For example now I just said
I see this under arm also has a yellow.
Almost like that but it's probably a little bit darker because it's
an underplane. Where do I go? Where's my yellow, my yellow.
Darker yellow, where do I go? I go this way.
Okay, right. Now
it becomes too orange, right. So what do we do?
Let's make it a little bit cooler.
With limited pallet you can add black to make it a little bit cooler or you can add green to make it a little
cooler. Either way if you want it to be just still keep
a limited pallet, still wanna keep it that
classical look then you can just add black to make it darker because
back then they don't have that much tube then usually they just
use black or something or like prussian blue color, prussian blue to make
it a little bit darker or burnt umber. But in this case
once we have full pallet there's other colors you can use
to make it darker and again you still have to keep in tune because more
color you have again it is more easy to go
you know, go to the extreme.
See darker yellow, perfect.
Well actually perfect, which I like this dark enough to
separate from the light. A lot of times people make the shadow color,
shadow value too light and it doesn't separate enough, that's not good.
Now this shadow turns more
warmer. It's the same shadow on this side of the arm but this side is more yellower.
It's probably because her face, cheek, bounces light into
right there next to the armpit. I just take the
yellow, what we have, add a little bit of red in there to make it
a redder, oranger shadow, that's where I put it right there.
Again so once you have in control with the
bigger idea, color mixing again it's
I will say that it's not that difficult. As long as obviously
you have experience to know the mixture of
the combination of the color that you want. And that's why I have -
I squeeze out a lot of paint, right, because I squeeze
out - I screw up mixing color quite often.
If I screw up mixing it
I stir it again to get to the color I want. I know I can get there, at least
close enough. But then I need a paint to be able to do that.
And that way I can learn which combinations will
allow me to get to the color I want. Again if you only just put a dapple of paint, which a lot of times,
students do that and I can understand because paints are expensive,
but every time I help students with their painting and it's like
I took one scoop and then the paint is gone
and then the student still has to squeeze out,
you know, more paint and it's not gonna
help you to learn how to color mix. Yes, if you're
doing a very tiny render pieces using a little tiny brush
yeah you don't really need that much paint because mostly you're doing
just, you know, just rendering. But then if you are really gonna
paint alla prima, look at my pallet it's a mess.
And also it's an organized mess. So I know
exactly where I go to. Eventually it's going to get to the paint where it gets too messy then
I will just scrape it out and create a clean area.
Think about the overall
from lighter to darker, cooler to warmer, top, front, to the
side. Light then the shadows. And in this case we also got
the bottom plane of her.
Is it light or is it dark?
Now it's the light side of the neck.
Kinda dig out that eye socket.
shadow got lost
on the face. I'm gonna repaint the shadow.
Lower lips, in this case lighter - sorry, darker
actually because the light coming down this way more.
Up to her.
A little too
dark before, I wanna mix it - that side of the muzzle that
turns away from the light. It's a little lighter.
Turning this way. The chin.
A little darker.
Bottom of the nose it's in light but kinda pinkish.
Let's make it a little stronger, a little bit lighter.
A little bit too black. Let's make it a little bit warmer.
shadow again. I feel like I can nail this
still now quite
Make sure to constantly step back and check.
Let's get that shadow on the nose
a little bit clearer. And that's
why I use an 18 by 24 canvas
today because working this up
at 16 by 20, it's just too small, it's too hard
getting - that head would be extremely small. If I'm gonna fit
the whole image in. I can
do like a color comp but with that size if
I wanted to get into a little more, talk about a little more
design in the smaller detail than that size.
I'm gonna trim those lips a little bit, feels a little wide.
I don't quite like the angle of her lips.
We'll see, let me
make it - I'll see
because I wanna make sure it kinda goes up like this.
Let's open up the bottom of the nose a little bit more.
Just think of the triangle shapes.
I'm gonna open up this eye, the side of the
nose through the eyes.
Don't be afraid to paint over.
And that's just a
Trial and error come, you know,
up with the best relationship, you know, best
And you need to have the courage to paint over.
Because it you don't, first of all
I think you kinda limit yourself, you're not gonna
go beyond outside the box and also
yes and then the -
and also to be able to have that
confidence to do so, like I said on the first part,
on the videos
draw more, practice your proportions,
practice your sense of design, balance,
you know most of the time you'll be taking classes, the classes are only gonna teach you
about how to observe proportion, how to, you know,
measure things, compare,
but it's not many classes that really teach you how to design
you know what's design, you know what's a good design, what's -
how do you balance a design. What's symmetry, what's asymmetry. To me that's
actually, you know, it's more important, beyond then - well obviously
yes the proportion obviously is crucial but once you go beyond
that, it's all about how you take that idea to design
a full image. You know you're not gonna just only draw
figure or only draw this one thing. You are drawing a combination
of different objects, figure in an environment and you need to know how to
compose it. And that's what an artist is about. We are trying to, you know,
design and create something that's visually interesting.
People are usually afraid of painting over,
like painting over the drawings,
repainting, is because they usually don't have that
skill, you know, to do so. .So what they're probably doing
is they're probably doing most of the rendering. They would actually
transfer the images onto their canvases and they just, you know, basically
just render things out. Looks very kinda photogenic.
If that's what you're pursuing, that photorealism,
that's fine. I respect that
craftsmanship, I just, you know, I just like more impressionist,
more throwing paint. I like to design, you know, design my
painting, not get restrictive with my lay in.
Constantly change the size of the brush.
You know if I can use a large brush I will try
to do that most of the time. But some of these small areas I have to use smaller brushes.
But right away I want to go back to my large brush.
gamsol. Just a dab, just the edge of
the brushes. Don't put the whole brush in there unless you are cleaning.
So I just kinda trimmed her face, make it a little bit narrower. Now I have
to move that shadow over a little bit.
Fix that lower lip so they kinda, the whole
lip is kinda doing this. I want to round over the
And when it goes this side gets darker.
Come over to my dark side
Do it again.
for like a nostril or the ear canal
a smaller area or smaller shadows, I still tend to make it a little warm
shadow, not pure black.
Alright let's move on to somewhere else.
Let's work into the shadow a little more. I feel like now I start seeing a little bit
of a warm.
I'll fix that arm shape.
I'm still concerned about this.
This gap right here.
Distance of that globe to that arm.
I'll see. You know if -
you know if this is like, obviously a long term project I probably
would, like I said I would scrape it off or paint over or something.
This is just a recording, that is for demonstration purpose.
I might just leave it but I'll let you guys
know that I don't like that part, I might do it differently
but yeah, I won't have time to
correct that. But yeah so we'll see.
Once we get a little more to it and to see.
Maybe I can tweak it to see what can I do.
I got this kinda dirty shadows
right here. Right beside her belly. I'm just gonna
make a dirty color right here. It looks kinda a little purplish
maybe because of the cloth.
Make it darker, move over.
kinda dark shadow area
I can see a little bit of reflected light on the thigh but here it just gets a little hard to
read. I might kinda amplify a little bit
But now I'm just gonna keep it all in the shadows.
Kinda purplish pink.
So I had that little blue and that's a red
and that's kinda green gray area
kinda hard to get that color.
of burnt sienna.
A little bit of red, a little bit of white.
Maybe now it starts getting too pink, right, so we have to
grade it down a little bit, add a little bit of green,
every stroke, shape a little bit different.
I feel like a little too much maybe going on. I might simplify
So I need to make this darker
green, have that textile.
Darker green right here.
Again, I can - well let me lighten this up so we can see better.
See where her belly -
I need this shadow right here, it's on the reference too, I'm not making this up.
This shadow right here, on the drapes, where we go
of that pink top highlight, highlight on the top.
You got the shadow sits below and then you got this kinda greener
Make it a stronger.
See this shadow
can take your eye - here's her stomach sitting straight up
like this. This shadow can help take your eyes out this way
toward that red cloth or just, you know, foreground.
The foreground area.
So I need this shadow right here.
So on the drapes you have two color, you got the pink color
and then you got the green color, right, and so here's my
pink going darker, lighter. Here's my green goes
darker, lighter so again I still have that control.
Looks like it's really dark in here, again it doesn't get much light.
Get even deeper depth.
I need to mix a
just a nice, deep rich
color. Just gonna try with the
red and burnt sienna only.
And a little bit of black.
Check the highlights again.
Keep this edge soft.
Let's bring this out.
And again right no0w the paint is a little bit dry, it's easier to
well to - easier to
stick the paint on the canvas.
No idea how I got those on my hands.
cover over that.
This part - this is gonna get super dark
that's the corner right here.
Top plane a little bit darker.
Push that red into the shadow a little more. Oops.
That wasn't enough. Push it a little more.
Break that edge too.
Okay I need to reload
and actually I have been - I think
how much paint I put out and
so this is actually the third time I'm reloading, like I said before
you need a lot of paint.
That's why I bought all my paint in large tubes, as you can see.
It's just a little more like economical that way for me.
Okay let's see.
I think overall pretty good, I would block in most
of the stuff. Oops.
You know the background gets a little too streaky.
But it seems kinda wet,
wait until it dries a little bit, I can put another layer so it won't be so much
strokes. But I need to rid of that little
that dab right there so let me remix the
Again as I was saying, i dunno, I
well I kinda do know but I grab
a bunch to get to the gray because you put everything in,
you're ultimately gonna get something gray and then you shift. If I wanna make it warmer
or you wanna make it cooler.
Gonna clean up my strokes a little bit.
And I can push even lighter here.
A little bit hard for me to see, here's
a lot of glare because again the light source comes from the side and I'm putting
vertical strokes, it catches light on both sides. But I wanna make sure
this side of the backdrop gets a little bit darker, this side
gets a little bit lighter. I may paint this really
solid black, I think that's gonna help bring the whole thing -
kinda bring the whole thing out, give a
kinda helps it pop.
I don't like this right there.
I wanna fix that.
I'm gonna get a - clean things. Now I wanna clean black
and my pallet is pretty much all covered so that's why
now I need a clean area.
I probably could have used just a straight black, I think I could, but I
just wanna add a little burnt sienna just to make it a little bit
of a - I guess give it a black a little bit
of personality so it's not just flat black.
If that makes sense.
Or I can just say I'm afraid to just
put right black down there.
But now it's gonna be more of a richer
black. Still black but it will be a little bit richer.
How that leads to here.
that, we can follow that shape. We can follow this shape very nice ,
that geometric shape clean. See how when I come over here,
things get a little lost, light gets a repetitive kind of - everything kind of
runs vertical right. So again always
those triangles. How you want to connect
The thing is if you take the flat brush, you paint a nice solid, which is
great. Then you're gonna get these hard edges
and you don't want a hard edge everywhere in your painting
because the edge is obviously to create depth
soften some of them.
Break some of the boringness.
But the boringness means like too much vertical line.
That's not good. I feel like they both collide into here. I want to
like the reference I wanna come in, kick back, and swing back up.
Come in here and kick forward,
maybe I need to make some of this red,
swing forward and then swing back up this way.
That's such a strong edge there I wanted to
first I will remix this color and then paint over to soften that edge.
I don't want to be too
I'll lighten up this, again I wanna see how
they're kinda balancing out.
Balance each other because if that's too dark then only this side gets too
too much attention.
I don't like this cloth, I'm gonna
simplify it a little bit. Just
got too much looking at the textile, a little too
In terms of thinking here's darker, here it's lighter.
In that sense I learned something -
you learned something and that means
like sometimes details, you know, always attractive.
And that's why I was trying to paint the plane and the flatness first before
I get into the detail stuff because I wanna make sure this and this has to read.
Just that simplicity of that different -
different plane versus, you know, all the little
dab of strokes and that's one thing you need to watch out. I see that happen a lot.
The student doing that a lot. They just dab on strokes but they're not describing the plane.
I need to, you know, trying to avoid that.
Be careful with, you know, be careful with those big strokes,
you know, it's fun but
but again you have to know what you're doing and like I said
you do it based off the correct value and correct relationship.
Turn that leg so you got this
half tone area. When it rotates over it gets pinker
Oops, that's will be too dark.
It's really bright here.
And the bright goes right here, it's really bright.
Got a strong highlight right here at the shin.
I kinda like the front it's a little bit darker.
I don't wanna bust out too light.
a little bit.
Clean this up.
Didn't realize her heel is back here so now I have to trim the toe
otherwise the foot will probably look ridiculously large.
Yeah I wanna play up
this shape. Everything before is just -
doesn't quite feel right, it feels like...
Doesn't feel organic enough
Or it means it still doesn't - we feel like
it's got this nice swing down and you got this kinda vertical -
that horizontal bridge. I want that bring to have a
flow to it.
to, again, I would be forced too straight. Now I can angle it.
I feel like it's coming out like this, this way.
let's fix her
contour on her upper ribcage area.
I come down to my grayer area. Somehow feel like
the light here is more gray.
Here at the top pulling that breast.
have a fresh pallet and fresh eyes, you know, to
analyze my painting, to see where I wanna go from here
and then pretty much everything is pretty much blocked in.
You know, the composition, all the graphic relationships, it's all
kinda set up now we'll just start kinda introducing more of the
sense of light and then watch out some of the, you know, the edges.
Still I'm still gonna be concerned about, you know, how the shape
relates to the flow, the gesture of the shapes. And that's
like I said, that's, to me, it's -
I'm, you know, pretty much focusing on the
most. The rendering part, like I said, it just takes time.
I'm not gonna take this to a full rendering but I wanna make sure
I'm satisfied with how it overall works together
and the value structure, you know, does that reach
well. Okay so
still gonna work in this area a little bit because like I said that globe
is kinda quite close to the arm.
Maybe I'll take some of that black background to cut in
to help to
separate it a little bit.
like tend to like to add some color
into that black. So is the white. I tend to usually like to add
some color into the white so I'm not using pure white, pure black. By saying that
there's obviously there's times I will still do so. Like I was thinking today
at the end if I can paint that vase using some pure white
and if it can work for overall I might use the pure white just to get
that very pasty, chalky, that
matte vase feel. If I, you know, if that was
kinda almost a pure black but then you got that
underpaint showing through which has a little bit of warm to it
I'm not quite - like my strokes start
getting kinda too many strokes, getting everywhere. I might come back and just clean up, you know,
just get maybe get even strokes because here it gets
the problem, I dunno how you guys will view it on the camera, there's a lot
of strokes here, different strokes here, a lot of strokes in the background,
there's strokes here. So there's a certain area I wanted just to keep it
Again we always play with
the slowest drawing, the contrast, the difference,
different with, you know, anything, whatever. The straight versus curve,
warm versus cool, dark versus light, symmetry versus
asymmetry. That's the ingredient that we got.
I'm always playing with
those. Flat versus texture, passive versus
active, broken edge versus,
you know, solid edge.
I'll make - even though that triangle right there,
that triangle shadows, on reference it looks like oh they're black but
when I get to the top I make it a little bit warmer, part of it can feel
really relate back to this red cloth. See I can just give
a little bit translucent feel to it.
Things need to watch full reference.
Sometimes the dark is too dark and then
it can also the - there's benefit working on full
reference because it helps you to - the reference
flattens things out a little more graphically than if you look - if you draw from the
life you tend to see so much
three dimensionally. You see all the details.
And sometimes that can be
problematic because now you're not thinking about the simplicity of the
becomes graphic first.
becomes graphic first.
I'm not sure if I like this
straight edge here, so I'm gonna remix the color of this
cloth to see if I can soften that a little bit.
Sometimes just takes
a few tries.
Stroke, follow with the
gesture or follow with the like the plane
going this way.
If the form
goes over it can come this way like this.
Like bring a little more light up
into that gap.
shape of her arm.
Bring that lower arm a little bit longer.
upper arm a little bit cooler.
Try and hopefully this will cool enough.
Be sure this arm is lighter than this arm.
It's that warm up
at the bottom.
The hand gets
really warm, which is good because
it gives it that nice temperature shifts. Strong temperature and strong value shifts.
Bring this into that thumb.
See how the wrist, that forefinger also pointing
Now I'm finding some darker
darks. Pop things out.
Again not to
the rendering stage, just
get a sense of the light and dark shapes.
So we can get
a sense of where is that thumb.
Let's bring some warm in there a little more.
Step back, that's better. I like
even the cool, the warm, cool, warm.
That green to cool down the skin tone a little bit.
I wanna lower that tricep
because this to me feels a little too rectangular,
too much like a rectangle. I want to bring that bottom part
where the arm pit a little bit wider, so again you got this wider
base tapered elbow.
I can do even more,
again gonna touch that globe but I should
so I'm gonna try it again.
Put down those shadows.
Here should be lighter. You got a gradation lighter pink come down to
this more of this ochre color so I'm come back to make it a little bit cleaner.
That's better. So I wanna push this
too different. This goes back, this coming forward more so I'm gonna
use a temperature shift to make that upper arm
going to distance. I'm gonna use - use some of the background color
because I just wanna kinda merge into the background. If you look at reference it's kinda almost
like a lighter background color on that top of the skin. Almost greenish.
For me again, I can
remix it green but I'm afraid maybe
kinda off key a little too much. Maybe it'd be too green. I think just to be safe
I'm just gonna use a background color. Like I said it can help to merge with this into
the distance, merge into the background. I think it's a
probably a safe choice, you know, to do. And
so let's just do that.
I think that can work. That works out
Overpaint it. I want to overpaint it and
then we can trim.
Make it about the right size.
Merge this shape into these shapes.
Get remixed back on color.
Trim that arm a little bit smaller.
Again I wanna get that - again get that
gradation darker and lighter and I will make that
side a little bit darker, which I see from reference and that might help.
Bring up that hip a little bit. Push out that hip
a little bit.
Let's push out that thigh.
Even a bit brighter.
a little too hard key in the beginning, now I can
paint the warm to darken it a little bit. But that will help me to, again, overpaint it.
So when I make it darker, slightly darker, I still keep that value up.
When it goes up here
it gets cooler.
I'm just gonna take, again, I'm just gonna take the background color.
Take some of the background color, add a little bit - because I see where that core
it gets a little kinda this kinda, has some gray but has a little
about the yellowish color to it for the half tone
because I think her half tone, same as her armpit, looks a little bit yellow.
So I'm kinda - I take the background, add a little bit of burnt sienna to just
kinda get this kinda gray orange color because I do wanna, still wanna
Push it a little more.
Even though it's really dark but I assume it's still facing this
and maybe get some of that red. If you're not quite sure what color exactly, like I said you can
kinda just based on what's surrounding and you can make that choice.
I need to make here a little bit lighter so you can see the - feel like the
reflected light from underneath the belly, the stomach, and also help to show where the
shadow part of her thigh.
Otherwise it's too dark in here.
I'm pretty sure there would be some type of light coming in there.
Again although the reference feels pretty dark.
If I'm not sure how,
what color to put in there, probably warmer would probably be better
because again it shows the skin showing underneath the shadows.
Things like bulging this side of the thigh out.
I kind of cut in the back side of the leg a little bit because I don't
wanna get, you know, too wide. That's why I was using that dark arm
behind her thigh, just kinda trim down her
width a little bit.
Make it a
little bit cooler. I feel like again reflect from the background.
Highlights right here.
The foot I'm gonna make it a
little bit warmer, lighter.
This one I'm gonna make also lighter but I'm gonna make it
a little greener.
I still, I like that
two foot merge. I still want to see how that shape
reads. Here feels a little too - has too many
broken edges. That red stroke kinda breaks out that nice -
I want nice smooth transition, smooth shapes.
And now it feels a little bit
Not quite smooth.
Too warm, add a little bit of green.
I'm gonna push the shadow side a little bit
Again trying to get the
Turn that breast. You got this plane here which
I probably could make here a little bit darker.
I don't like
this curve, kinda curving over this way because her breast is kinda falling
over towards the right. I'm gonna
push out that core.
Now this out this way a little bit
probably gonna even do more. Because I feel like the breast is hanging over
more towards the right. But now the shadow feels a little too
thin. What I should do, I should
also give a cast shadow on her neck.
Gets kinda warm right here.
That cast will flow to this
shadow on the breast and then got a
cast shadow comes over. It's a pretty warm, transparent
shadows. Kinda this yellowish
like this. And again make sure you mix a clear color note.
Not something halfway.
If you can't quite read, mix more paint
until you can really read what
that color is. Okay.
For example that is really a color that
it's a little vague, you know, looking at the
gray or looking at the pink, right. So make sure
to really mix a clear color note.
And open up that space a little bit right below that belly and the top of that
Of course when you go up it gets a little bit lighter.
That might be a little too bright.
Here feels kinda a little bit grayer.
See this comes in, kinda goes around, coming,
swing over to this side and swing back up to her
So now I need to get
a half tone, you know, between the shadows and with
Get a sense of where
the gesture flows. You can tap your brush, just follow
the gesture. Go this way.
Or like this.
I use a little bit of green
black, reference just looks black to me.
Might be a little bit warmer too but, you know,
doesn't matter it's just dark. It's so dark it can - as long as its value
is right, I will shift a little bit, you know, everything else is pretty much
red, black, and try the green black.
A cooler - the red. I want more
of a grayer kinda the
key to a little more earthier kinda red.
I'll use the back. Because if you use the -
because if you just use the green.
You get this more of this purplish
it's grayer but it's
more like purplish. But you know if I wanna be more like - you can see here is more a little bit orange
almost its color is not on my pallet,
which is like a venetian red. Kinda this more of this.
Got that yellow underneath so now it looks
weird, it looks off. So if you just have -
if I want to just
that red and just that black.
You know you got a little bit more of a
pretty purple, you got this more
see more of, it's kinda
earthier red that can key to the earthier family,
you know, a little more. If I want a more cleaner - if I'm coming to my skin
color - lighter skin side
the porcelain, that porcelain skin, oh it's too red,
put a little more, too red, I want to just gray down a little bit and I can just
use the green to cool it down and you still have this kinda pretty
color to it. But image if I wanna, you know,
use that, again, the higher key of the more lighter skin
again back to that red and I wanted to
cool off with black, you see how it
doesn't - it gets kinda a little too
gray compared that to that. I think higher key wise
that looks a little more prettier as a skin and that might be a little too gray
but if I wanted more of the mid tone area, if I want to get close
to where my darker family, in this area adding a little bit
of black, you know, can get to that quicker. Again you
guys should experiment. You know it might not -
you know while you guys pretty much right now just listen to me
and watch, you know, watching this video. But try to experiment yourself.
Different combinations. You know you get different - just see
what the result that you like. You know I like
a lot of times I like rich shadows, which
a lot of times shadows have this kind of warm to it.
Take some yellow. If I - today if I use the hansa, another yellow
which is more brighter yellow it would nice too. Burnt sienna, that's
a pretty color to me. I like that color. Just kind of
this kind of yellowish green and that works.
You know really nice in the shadows like
warm up that a little bit like right here.
Just a nice, not too
flat. The color doesn't feel too flat.
Make it a little bit darker.
This kinda hiding in the
shadow glow, it's just you know, just really nice.
I can put some over here if I want to.
Like right here like this.
Could be probably even a little bit lighter.
You know try it out. I like these.
The cerulean blue. Also gives you some nice of - some of these
kind of nice cool blue.
Sometimes when you're mixing to gray it doesn't look quite nice.
Get this just kinda pasty gray, unless that's
what you need, you know, need to use. But sometimes, especially
for like in the landscape sometimes you just sneak in, like you're sneaking some of the blue.
That blue to me looks pretty nice. It can be a sky.
You know whatever
this can be like a bunch of bushes.
In this case the bottom maybe it can be water.
A little bit darker.
Basically water here. And then that can be a nice blue
for sky. Right here like this
whatever, I just go around it.
That can even
to me I think this whole combination right here
that's pretty, you know, that's pretty.
itself can be just a really interesting
You know. It's all about,
you know, about the gesture, about the dark and light balance,
right this might be, yeah it might be a little too symmetrical but it's okay because I got that blue
down here it brings your eyes over. But it's got a variation of different
warm and cool color within this dark area so it's not just a flat
dark and then got some of the nice blacks that kinda give a nice strong kick.
You eye is gonna draw to it here right away you got that nice, that pure
blue. Just you know, again, it looks like some type of
abstract landscape. And then you can play off that, that might be
some type of storm painting or maybe this is a tornado
coming up, you know. Play with this abstract. When I started
this painting, it's basically just playing with these abstract balance and shapes.
And this happened to be a figure or happened to be a landscape or happened to be a still life.
But underneath this reality is this.
And that's why there's abstract painting existing.
Because again that's beautiful.
Now I want to step up here lighter key so I'm adding some of the green
to cool it off.
I feel like this shape right here needs to be longer
or whatever that muscle is, doesn't matter.
But to me it
just the shapes.
I wanna go here, I wanna get cooler.
I warmed this up just to get some of the - feel the
reflection from her face. But here I wanna feel like it's connected, maybe
the background. So I'm gonna make it
kinda white, you know, maybe use
some of that. Looks kinda like this.
Go up a key - see I can
not, I don't see highlight but maybe what the heck, just keep a highlight right there like this.
Come back to that globe.
So now I wanna mix that nipple color. It's kinda, again,
it's the kinda brick, kinda purple pink.
So I'm gonna use the black to darken that red.
So every time we're lightening things up - lighten the
underneath of that breast and that
will remind me to lighten up on this forearm too. Because light kinda hits here
and also hits here.
I want to trim her face, this side a little bit,
come in a little bit. Try and mix that deep orange.
I need to get rid of this because I always try to keep -
I kinda like that little painting right there but I need that space now.
Just nice, rich dark, burnt
sienna, get a little red.
Still things I wanna fix on that face.
take some time. I'll see I'm trying to get
to like at least where I'm
kinda satisfied with and we'll just kinda stop there with face otherwise
it takes too long and I don't want to bore you guys.
I wanna push out that shadow on the nose a little bit higher
to give it a little more of the hook up nose.
We can go to my favorite shadow color.
I wanna make here
I'm gonna ring it up lighter and I'll make it
a little bit cooler.
As I clean up,
clean up below that ear and neck.
Can really get a sense of where the
where the face stops.
I need, right now the face
feels kinda stretched out. I need to know where that jaw line
here so I'll keep this straight.
It helps to keep that face
the edge of the face parallel. It helps to turn the face like this.
I'm just darkening that forehead, just to see, try
because I see the light coming this way. Her head's not really a
focal point. I'll see if I can make it a little darker maybe it'll get less attention.
If it doesn't look right I can line it up.
Repainting the bottom plane of the nose.
I like to
show that - I'm worrying about that light shape right here,
right below her eyebrow, in relationship to her eyeball
because that's where the bottom plane of the eyebrow
which is the eye socket. So I like that,
I like to show that difference.
So you can feel the ball, that's why I darkened the right side of the ball.
I really wanna get a sense of this ball inside this socket.
Which in this case the socket is in light. So not
about rendering the detail of the eye, same as here. I wanna feel
that ball and then the socket.
Pink got a little dry so add a little bit - dab a little bit
of the gamsol.
at a higher point looks like right here.
Bring up here and drop down.
Again help with that flow.
designed my highlight based off that to
flow this way.
You can see I'm constantly repainting,
you know, things that I just paint, now I wipe it out and
until I get it right
or I'm satisfied it feels right.
I don't want this side, the eyelid, to be too
dark because it's in light.
that cheekbone a little bit. I think I need to cut in this
eye socket a little bit more. Instead of pushing out her cheekbone out more
I think I need to dig into the eye socket.
Take some background color, make it a little cooler because the top of the forehead is a little
I'm gonna narrow her forehead a little bit.
I feel like the top of the cheek got a little gray blue, take my
gray blue here, adding to my lighter pink side.
on my pallet.
Let's push it a little more.
A little bit lighter. The bottom of that
nose, this is light but it's not very, very light so
I painted it too light before so it doesn't quite separate with the rest
of the features. I'm gonna make it slightly pink.
That's not what
I want. I was gonna put a highlight right between the nose
and the eyes. Now it looks like this top of the nose is too wide.
Looks like this got big,
fat planes on the top of her nose. That's not what I want.
I like to make it warm, black for the smaller shadow on the face.
The shadow goes up, gets a little bit
yellower. Slightly lighter. I don't know if you
guys can see but
that's how I see it.
other times at the beginning of the painting
your eye is not quite warm obviously you don't really see the color
that well. Don't worry. Like I said just
get to, you know, if the red family,
green family, yellow family. Just get close to it.
Making sure value is right, make sure composition
is interesting. Make sure darker, lights, you know value separation is clear.
And then your eyes will start seeing more color, you're gonna warm up.
Your eye is gonna warm up and then you can start
applying color, you know, afterward.
Push the color a little bit after.
One other thing to make
the skin tone feel like skin
is that there's temperature shift.
When I was working into that face I was more concerned about
getting a light
and shadow to read right. So my light side, which is pretty much
so pink, all we see is pink. Darker pink, lighter pink,
because I'm just trying to get the value. But that's not gonna feel realistic.
And that's not gonna feel like skin. The skin will be more like this arm. You got
cooler color, temperature, you got warmer temperature, you got
more, you got red, the blood, you got the green,
you know the veins. So you got all sorts of colors, variations of
temperatures. So you have to, you know, to do that to make it feel more like
there's a live, you know,
kinda live organism. So her face I'm still adding some
cool, you know, to push that temperature shift.
The chin often is pretty pink too.
You can always overpaint and then
paint over. Cover over.
when you paint, move your arm, or in a certain area you might
want to be careful and precise but if you move your arm
you get more of softer edges.
And then sometimes you get an interesting
That line right there is still too hard.
Let's open up that chin
a little bit.
Wanna soften that edge too.
to open the lips this way a little more.
Lights on this side so
this side of the lips will be a little bit darker. So I'm missing a little
darker red for the bottom lip.
Turn this way.
Just have to be patient but
at the same time I need to, you know, I still don't want to overwork it.
And I probably want to - if I'm smart I probably
should move the arm to somewhere else and come back
to it if I need to. Let me just get that lip.
Let's move somewhere else.
We'll come back to the face if I
Oops yeah sometimes watch out, your
white gets dirty. Now I was gonna make more like
pinkish light, now I touched that blue.
Other side I can push a little more stronger highlights on
First I thought maybe not but it seems
I lighten up this then I have to lighten up the foot.
And then sometimes I like to do
things like this, like if you were to have a cooler
overall a cooler skin tone,
in this case on her foot, then I'll push the shadows
very more warmer. So I run the opposite. Nature does that too, you have warm light
cool shadows, cool light has warm shadows.
Sometimes clean color, sometimes a little bit
Bring out that reflected light, push that
reflected light a little more.
Now the paint is a little bit dry, I can really lay the paint on top
Means it's cleaning some of the strokes.
I don't want the strokes taking away from my painting.
Can't quite see on this side much but I'm just
gonna still gonna keep it like a warmer dark.
I'm not gonna take it to that black yet.
If I need it then I'll do so but now I'm just gonna
do a darker red.
If you look really closely you can feel the warmth.
I'm gonna go back into
like this rack
this part I will make it darker.
Almost feel like
coming in like this.
Okay I think this is what I'm deciding to do.
I'm gonna make that globe bigger and so is the red
drapes underneath. Just to really push that into the foreground.
That overlap, the rack.
Let's let it go off the page.
Make it a little bit darker so your eye won't take your eye away from the picture.
I'll glaze that back later, I just feel like I wanted
to give some warmth to that.
I'll do that on
my gouache painting a lot. I had that red underneath,
I just - that moment when I'm painting this, I feel I
want some red here just to balance it out. At first I painted too red, I
added a burnt sienna to make a little bit darker red. But now I decided to
paint some cool blue over on top. So you get this
warm and good kinda overlap it creates this kinda nice
Mainly I just wanna
lighten up, you know, give some sense of a ground.
for, like I said, for gouache I do that a lot because
obviously dry - so is acrylic. Dry acrylic I can lay over it.
It's tricky to do it with gouache because it can still activate the paint
underneath but like I said if you do it more -
more confidently, you know exactly - just put
one stroke, don't blend it. And you might blend it with the
color underneath a little bit but still you kind have to
perceive what the result is gonna be. Because once you
put the color on top and you make it a little more light so when it blends to the underneath it will get slightly darker
but that's maybe the value that you want.
Again every medium works a little different but overall in
terms of the overall compositions -
compose - how to compose the painting, it's all the same. It doesn't matter which medium that
Clean up this.
Soften that edge.
Like I said oh hopefully I can bring pure white into this.
A little bit of blue. Just for fun
just to see how - it might be a little too much.
Let's get rid of it.
I want light up here
a little bit
Mixing that carpet
color. It's black and red, just kinda gray
Let's put some of those stamps. I may have given her a nice...
I can use this brush because I was trying to find a nice and my brush is all
kinda, you know, most of my brushes are kinda messed up. They all kinda
not formed nice edge to it, which this one also is not.
But the sable.
I'm afraid is gonna be a little too soft because I had all this texture
on the painting.
Well let's just use that one. I'll see.
not about one thing, it's about how they relate.
Make every stroke
unique, every stroke a little different.
What's not painted, it's just equally important
was the dark area, the space between
the leaves is equally important as the shadow of the leaves.
that will be very true for watercolors because, you know,
it's all about controlling
that spacing balance and
balancing all the proportions, where's the light, how much light, how much
because basically the light usually for water
colors is it's either on the tone paper or
the paper itself that's showing through because, you know, watercolor you work
from light to dark versus working from dark to light.
So you need to know exactly where the light and how much light,
where's the light and then you don't wanna cover those because ideally you don't
you don't correct. You can't, like, paint over to get more
to get highlights on the water color just kinda leave the paper
itself. Like I said although you can still
use white gouache to paint the light but
some of the charm of watercolor and the purpose
of watercolor, that's why it's called water, is it has that translucent color to it.
One of my favorite landscape
artists, he's not a
classical time period, he's actually still living, he's
more contemporary landscape artist, his name is David Hockney, you guys should
check out his work to see how he designed
the shapes and color. Well he has a very extreme color pallet but
you just see how he composed his composition,
how he designs, how he draws the trees of the leaves,
the leaves, the light between the leaves, the foreground, background
composition. It's wonderful.
Okay I just did something really, you know, really
dumb. If you look at
this stroke here, here, here,
here, here, here, here,
probably already know what I'm gonna say. They all look - those seriously are
just direction to it. But they all look like same sizes and almost same shapes.
That's not smart.
Make this one a little bigger.
so that brings out
a point. Look at different period artists. Different
time period, different style of artwork, you know. Don't
stick with one because you can
always get inspired by something else
that might come as
different, totally different style. You know I like all sorts of style like comic books,
I like kinda graphic novels, I like
animation, I like classical, contemporary,
modern. And then, like I said, you can know,
it doesn't mean you have to paint it, you know,
paint it abstract. Just, like I said, that little painting I did on the pallet,
you know, that was an abstract painting.
But then you learn something from it, in terms of how to
create a very interesting pattern and balance
of the pattern. Like I said that can turn into a
concept work, like a lot of concept artists and
also kinda of just pretty abstract.
layout. And turn that into some type
something from space.
One of the
probably one of the best and well known concept artists,
he has a website called goodbrush.com and I went
to sit in one of his workshops, the guy does this amazing
environment, like what you see from all the sci fi
movies. And so when I went to the workshop
the stuff he was talking about in the workshop,
the artists names that he mentioned, they were my teachers
and so he actually, even though his stuff
at the end looks like something for movies but the way he
processes is similar to what we're doing now right here. The art
that he inspired from basically they were my teachers.
And, you know,
so it all comes down to like the fundamentals. Just they do it with
computer, we do it with paint.
And there's this thing that
kinda bothers me is that a lot of
kids these days
they don't understand how important these fundamental skills are
and then they fundamentals thinking
analyzing process and they just wanted to jump right into
And, like I said, yeah
you can, you know, go right into computer creation, something interesting
but you are always gonna be
people in the background. In terms of doing -
finish up somebody else's work, somebody else's design.
If that's what you want to do, like in terms of, a lot of people are doing it, like the 3D
models, like doing 3Ds and stuff, that's fine. But then if you wanted to be more
creative, have creative control, you need to
know how to design and you need to know how to do,
you know, dapple is fine. You need to know how to
balance black and white, how to design interesting shapes and compositions,
Okay I can't
talk and paint at the same time. So I need to get this
But those are important points though,
you want to remember that. It's not
easy, sometimes it can be very
pitiful, very hard, like every painting even now
I'm still struggling. Every work
I'm doing this - I'm struggling.
I wish this day could be just, you know, smooth.
But it's always a struggle and
but every time when I overcome it
I will feel really proud
and definitely I learn something from it.
you know, get your sketch book out,
constantly sketch anything that inspires you, anything
that's interesting to you. If you're not sure what to sketch,
draw from looking at pictures. Copy from pictures.
every day still. I'll either go to the cafè, which I love
to do is to sketch - people sketch.
Don't worry they won't feel we are
weird or stare at them. They all know you're sketching them, trust me.
And it's fine but, you know,
like you're not really
But I have
a sketchbook everywhere I go.
I have several, not just one, you know, so I'll make sure
I always can get to it.
The stuff I'm talking about
sharing with you guys, you know, I'm
experimenting with those on my sketchbook also.
Okay class so
I'll just still - I'm pretty sure this still
areas I can work on. And
I already shared many hours and I
appreciate you guys sticking with me I don't even know how many hours I've been working on this painting.
It ends up to be something - took longer than I thought.
But I'm kinda happy
at least how it turned out. Again there's still - I can spend
more days onto this to fix, you know to make it perfect.
And that tuning can be something, as every artist has to
experiment, you know, we tried and scraped. I've been doing that, you know, throughout
the whole process as you guys can see, to come with everything that
works, you know, works cohesively. You know,
but I think you guys were able to get a lot out of
this and experiment that on your
own pieces and own paintings. This was something that's more complex.
Again this, you know, if figure is something that's a little bit intimidating for you
it can, you know, start from still life. You know five, six still life.
It just, you know, equally hard as this because you still need to
worry about foreground, midground, background, still need to worry about composition, how things flow,
the gestures, you know the color temperature, intensity, the edges,
still dealing with the same elements.
You may work on that for some time and then, you know, during that time
you work on your figure drawing on the side. Just charcoal, you know, go to workshop, practice
drawing from photo reference and get your skill up enough for your figure drawings
so then you can come back because a lot of things about figure like it's just about
that proportions, making sure the proportions are right.
You know the form kinda reads. But
you know ultimately what I want you guys to get from,
you know, this lesson is about how to compose
a painting. Again thank you guys for sticking with me for his many hours
and I will see you guys in the next lesson.
got a little more intensity to your pallet. But what I would like you guys to do for
exercise for this chapter is actually doing a master copy. And the artist I would like
you to copy from, you can copy from Joaquín Sorolla,
the Spanish artist, or you can copy from Zorn, okay, or Sargent.
Those are the three impressionist period, impressionist artists. So either Sorolla
and like I said he's great in outdoor lighting and Zorn,
he's a little more muted but still his work is beautiful. And
Sargent again he's just the best craftsmanship of all three
of them. So like do a master copy. And it's just a full canvas master
copy and that will be the exercise for this chapter.
Free to try
Watch the whole lesson with a subscription
21m 58s2. Laying in the Composition
31m 29s3. Blocking in Major Shapes
31m 13s4. Gradient, Transition, and Form
37m 25s5. The Background and Key Relationships
23m 17s6. Painting in the Figure
29m 35s7. Light Source and Key Color
25m 18s8. Painting the Face
16m 0s9. Important Elements of the Environment
15m 19s10. Strengthening Shapes and Silhouettes
18m 43s11. Developing Forms of the Figure
27m 50s12. Tuning the Shapes for Optimal Flow
30m 15s13. Illuminating the Figure
28m 42s14. Mixing with Blue
24m 56s15. Fine Tuning Facial Features
24m 16s16. Emphasizing Forms with Highlight
21m 15s17. Final Details and Conclusion
54s18. Assignment Instructions