- Lesson Details
In this lesson, instructor Joseph Todorovitch will talk about the procedure of figure painting. It is the idea of taking your time to slow down and correct mistakes while painting. Besides, you will learn how to turn form using paint, and explore the simplicity of painting illusion.
This lesson belongs to the course From Paper to Canvas. In this 10-week course, internationally renowned artist Joseph Todorovitch teaches you his tonal approach to figure drawing, which is designed and tailored specifically for painters. In the first half of the course, you will learn to draw the figure while focusing on value masses, shape design, and edge quality in relation to the form. You will study a procedural approach that forces you to work simple, then gradually progresses to more complexity. The second half of the course will be devoted to applying this approach in oil painting. After analyzing the connection between the two mediums, you will be introduced to color mixing and color theory. This course will guide you through how to create drawings as preparatory studies for paintings, and provide you a fundamental understanding of figure painting.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
And so keep an ear out for that, how to continually go back and concentrate on
being able to retrace our steps and work upon things that ae - that are solidified.
So we want to get that right before we kind of continue on.
So let's go ahead and get started.
Transcription not available.
A wonderful pose.
So I'm going to start as usual just to knock down the white of the
canvas here with an ivory black.
And I think today I'm going to try to emphasize a process again and try to
connect the dots between having something to fall back on, if things start to get
out of control.
So, being able to retrace our steps is going to be really important.
We talk about gesture.
We talk about construction.
We talk about landmarks, anatomy, proportion.
Going back and making sure all of those things are solid from the beginning is
always going to be our main objective.
We remember that nothing trumps a good drawing.
So we're going to try to start with a really nice drawing here, making sure
that we have a good design to work with before we start massing in our values.
And then when we mass in our values, are we maintaining
the strength of that design?
Is it enhancing the choices we made or strengthening the choices we made
or is it disrupting or disproving or making things more ambiguous?
I'm really going to try to get this foot in here today.
Really nice design here.
So we're going to deal with the entire, I'm going to deal
with the entire figure today.
Try not to crop.
So this triangle kind of basically just represents the
envelope from top to bottom.
This is - this being the most important distance here at the bottom because
essentially I have to make things fit within this length, which means that's
going to dictate the size of everything else to the rest of the figure.
So we're working kind of small today, but should be fine since she's not elongated
and we have her kind of in a small compressed pose, the size should be okay.
The head might be able to be about nice, reasonable size for our figure here.
This, the hand and foot are almost parallel.
So I can kind of rely on that if I'm saying, for example, that this entire
envelope works and I'm getting a shape piece of pizza about like this then
I can start to divvy up the space.
If the first major break of the space is probably shoulders, something like that.
Immediately, I'm thinking back to the drawing in terms of head,
ribcage, and pelvis, three major masses in their orientation.
I'm gonna try to be really careful about those three masses.
Ignoring the secondary forms on top of the rib cage, shoulders and so forth.
Just trying to look for the actual direction, starting with something that's
tangible, the pit of the neck and the sternum, center line, trying to see
how much information is on this side, how much information is on this side.
Seems to be, if I follow this directional idea around the navel,
the barrel of the rib cage seems to be tilting towards me at the top.
And then if I ignore the arm, I know that the mass of the lower torso extends
past the side of the face out here.
Overall have a mass out like this.
One, two, three.
So you know, sometimes this'll be looser or tighter in terms of just
finding the action, finding some initial placement, placeholders.
It's, you know, sometimes things are gonna fall right into place.
It's just important to get a feeling for if I have enough
room for this foot to make it
and I'm happy with that.
If I'm cutting it close like this, you know, I'm going to err on the side of
caution and, you know, push for a little bit smaller in the mass of the head.
Just so that as things shrink to accommodate that mass I'll be coming
in and not in that you know, going a little bit further out, but see that,
that first pass, I, you know, I want some freedom to explore and put things down.
You can be as careful as you want.
I'm just kind of just feeling my way through at this point on the second pass.
And I'm also looking for ideas, like the bottom of the gastrocnemius,
this kind of nice arch to the leg.
I mean, this is really important.
This area is really nice.
I want that to really I want that to be a really prominent feature of the painting.
So I'm trying to think about the placement.
Just take mental notes of what's important.
What's going to be important to me or kind of focal points or
themes for this painting, obviously she's seated on the ground.
So that's the action.
So all this information and how that's working is going to be really important.
I definitely need to know the distance between the head and where the weight
distribution is at least an approximation that gives me some room to vary.
As I continue to do pass after pass things are going to get closer and closer,
tighter and tighter and more and more tuned to, what I perceive is accurate.
You can notice as - I'm trying to be really careful around this edge right
here, because I'm starting to make some really serious decisions about
the size, because this represents the plane break of the chin, which
subsequently represents the shadow shape underneath the chin and also where
the neck is going to start to come.
And it's going to change all of this.
So I'm starting to be more and more - use more and more discretion about the
shapes at this point, about the size.
This is just a feeling at first, same as our, you know, our shorter initial pose
to get a feeling of what we want to see, get some idea of where we're headed.
Looking up at the barrel of the portrait slightly.
So I'm going to represent that now the second form I'm seeing
here as the cylinder of the neck coming off in this direction here.
Going quickly into the trapezius.
So you can see things are starting to get higher here.
Gonna get really close to this edge, which is okay in this situation because
I'm trying to maximize the distance here.
If I get really close, but enough room to breathe and enough room to breathe, I'll
consider that a successful composition.
If I'm able to fit everything in, because essentially my goal is to make her as
big as possible and in - and to include the hands and feet at the widest point.
And when we talk about a successful composition in a class or an exercise
working from life, I think it has to do with making sure that you are
achieving the goal of placement for your figure in terms of the size and the
position on your picture plane as well, pose to composition, you know, good
composition in a studio painting at home where you're trying to balance things
and with other elements we're talking strictly about the
figure and its placement.
This is a tailored exercise to study painting the flesh tones and so forth.
So it's not so much about other elements.
It's about maximizing the space in order to deal with the very specific things
that come along with painting a figure from life and essentially the flesh
tones, gesture, the sense of gravity, the sense of action, whatever that may be.
So that would be this the, in a situation like this, the
compositional goal, so to speak.
Things are starting to shrink.
So, you know, just because I put something down early and even if I
like it, it doesn't make it law yet.
The second pass is about refinement.
The third pass even further refinement.
So I'm trying to be aware of the fact that, you know like right here, once I
made this decision, I have to represent the trapezius in relationship to that.
I can't just stick to my initial mine because I put it there.
And that's an important component to be adapt - be able to adapt as
you get things placed and as you see things that need to be changed.
We're so quick to commit to the first thing we put down that we
aren't exercising the - sometimes we don't exercise the need to adapt
to what needs to be changed in order to dial into tune with things,
the relationship of things in.
So now I'm getting -, I've made my way into the shoulders, somewhat of the shoulder
girdle, the representation of the clavicle pit of the neck, the clavicle turning
back here more foreshortened, the center.
The next thing would be to consider the sternum more carefully, which
falls right under the eye here
and which sets the torso back a little bit.
So that says - I had the torso placed here at first, and now I'm seeing that
the center line is right in tune with the eye, which means that it's hiding behind
the arm a little bit more than I had.
So once I can establish that and rely on it, I can start to establish where the
extremity of the rib cages in relationship to the outer part of the head, which means
that, that side underneath the breast,
right before I see the lower torso begin, I've got information here.
There's my eye.
There's a pit of the neck.
There's a sternum.
Here's the outer part of the torso on that side.
And the other part is behind the arm here.
So I can infer where that is.
And I'm not seeing the background here.
That means that the arm is overlapping, but I'm still trying to consider the
construction of the torso completely.
And make sure that the construction is in tune with the kind of, kind
of action as best as possible.
Look at how far this was, this initial center line from
this one, changed quite a bit.
That's what I mean.
Each subsequent pass, that's what I mean about procedure.
We want to be able to go back and understand that if we lose
something, we should be able to go back to our solid process and
check things out in question things.
The navel, now that I get down here, the navel for example, comes right
in line here, right about there.
And that, you know, that's what we want to adopt.
That's really what I'm trying to learn and to teach is a process that is - we're
able to evaluate what we're doing and, you know, the repetition of that
process is really the main way to make it part of our fabric as we do things
and that's kind of what this is.
I mean, that's the difficulty is what we're trying to do is adopt a series
of events that we can go back and check over and over again, to get
more and more reliable information.
So you can see that by shrinking the head from the beginning, these
other forms start to get a little smaller with it, which gives me
a little more room to breathe
down here when I placed the foot, which I'm going to need in
order to place it comfortably.
And to be able to maintain the, kind of all the expressive - to maintain
and to be able to showcase and to articulate all of the expressive
qualities that are happening in the foot, as it pertains to the pose all
the way out to this, to that toe.
So from here all the way down to there having enough room to breathe,
that's a very specific distance
that is very easily overlooked in overjudged.
You might even go one, two, three, four, five, and a half, whatever.
And really, I mean, there's a theoretical point here and a theoretical point
to the eye or to the end of the head.
And that's a very specific distance.
It's very measurable.
It's about from head to toe,
if I go from bottom to top, there's extra, like an extra head up here.
So let's check that.
I don't have anything long enough there.
Let me try this brush.
So about - just see now I'm just interested because I've come
up with a new thing to gauge.
So I've actually, I actually have this distance longer because
I have more than a head here.
So the good news is I can make her head a little bit larger and get away
with it, or I can bring the foot in a little bit and get away with it,
which means that I have information.
Now I know the relationship between this and that and how
I've deviated from the model.
You can make deviations as long as you're aware of them.
You know I can choose to say, okay, I'm okay with that because I like the
gesture and so forth, or I can choose to say, okay, well, I know that I can
grow a little bit here and get more information within the portrait and
that'll do me good and make things easier, a little bit more dynamic portrait.
So I can err on the outside of this line and maybe allow
that to grow just a little bit.
Subsequently I might be able to come in and err a little bit closer here.
That's what I mean by a process that we really can understand
our bearings and we have freedom.
It's very loose, very free, but you know, I'm aware of where I'm
making deviations and so forth.
probably with maybe less, I don't know maybe a little bit less.
I mean, I actually, for example, I might not have any of this down.
I might just have done it in terms of have and average envelope, ask myself
how many heads down, how many heads over.
And if I know that's a good size, I might just start there
and just start with that.
As long as I know that I'm not going to come off the page.
I mean, that's totally acceptable, so I just don't want you to think
that this is the way to do it.
The way meaning the law I would definitely recommend going through
the steps to you know, but once you understand where you're at in how to
find your bearings, it doesn't matter
you can do whatever you want.
So next, what I'll do is come back and I'm going to start to develop
some shadow shapes, shadow pattern.
And when I developed a shadow pattern on top of this, it's going to get even
more - even more careful at this point and very specific very, very specific
starting with that one shape for the eye.
This one shape for the eye here is home base and is going to set the
tone for every other shape to follow this shape of the eye has a direct
relationship with everything else.
Cause it's an eye, it's where the psychology is.
So its size and proportion in rela - and distance in relationship
to other things is very critical.
It has a very specific distance all the way out to this expressive
little thing of the toe.
She has nerves all the way at the end of her toe.
They're connected all the way to there.
And so we need to be very aware of all the goings on out - through there
in terms of the gestural nuance, when this isn't just all over here
by itself, not attached to that.
So, so this is why, you know, so what I mean is we're going to be more and more
careful as I start to make these shapes.
So things get cleaner and not messier.
And more and more in tune and aware of how these very specific
shapes relate to everything else.
I know that sounds you know, artsy, but, I mean, we are trying to paint the
vitality of, of the figure, vitality of a person, including their, you
know, their energy and, you know their life force and all that kind of stuff.
Not just the, not just a stagnant shape of how, you know, how we see it in a
flat way, but something else internal.
I'm just kind of blocking in with an average dark value, black and transparent
oxide red to keep it kind of warm.
Keep it dark enough.
Not thinking about color just yet, just to keep it simple.
So now that she's back, I can see how I've placed the shape a little bit to the left.
I need, I can see where my center line needs to be.
So I'm gonna establish my center line here.
So establish where the base of the nose is.
What we're talking about on break for the onliners was that if, if we're, if
we're falling off the edge of the page here don't press forward, go back in,
get that part of the procedure right.
Make sure that you have enough room and that you can mathematically tell if you're
with, if your head is the proper size in order to proceed and that you're not
going to run off or your toe's not going to be right on the edge or whatever.
That's a really important thing is to build on top of one accurate thing after
the next and to adopt that process.
So that way, if something's off, you know how to go back, retrace your steps, go
back you know, assess what went wrong.
That's what we're trying to learn a process.
We're not trying to make a good painting
If we adopt a good process, we will make a good painting because all
- everything will be accounted for.
So that's what I mean when I say that.
And I really believe in that, because it's, we're talking about long term
habits that we want to develop as opposed to just doing a short-term painting.
So what I'd probably do If I was in a workshop that I was painting for myself
is I'd start, I'd just start the painting.
I know that this is going to be okay.
I know that things are going to fall into place in relationship to the portrait
and I don't have to worry too much.
Or I don't have to go and do this all the way down and do you know,
and map out the entire figure.
It's a little more poetic that way, I think when it's
- but you know, you run some risks, so you run some risk of losing
your solidity, losing your bearings.
So I have to make a decision what I'm going to do here, whether I'm going to
just start painting or whether I'm going to go in and block it in just for the
sake of procedure to kind of share that.
I probably should do that.
Just the teacher in me says I should do that, but the
painter in me say, do what you feel.
So let's see, I'll go down and I'll mess out a few more shapes.
I'm always struggling with the need to do something creative and lyrical versus
the need to convey information clearly.
Yeah, I think both are really important to see for, you know, for us.
So you know, we need to see it come together like magic.
But without the understanding behind it, it doesn't really do much good.
Just depends on at what stage we're at and what we need to see at that point.
So I'm just going to assume that I've messed all this in with very clear
shapes and I'm going to, I'm just, I mean, you know, I'm just gonna drink,
I'm just going to start painting.
You know, part of what we need also need to develop habitually is aesthetic.
And that means that from the very early start the painting should have something
dynamic and beautiful and lyrical Even, even in this preliminary stage.
And if it doesn't then, you know, what am I doing?
I lose interest really fast if it's all pragmatic, just pragmatic.
So I'm going to go ahead and I'm going to just, I'm going to try
to get it up to speed in that way and find something that has that.
So when, in terms of color, I've started out with my light shape here.
I've just looked - I went to yellow ochre, alizarin permanent and a
viridian as a set of primaries here.
And you know, they're all balancing each other out, starting with
this relatively light value.
It's low in saturation.
And it is - it belongs to the to the orange or red
or hue family.
So varying it as I move along and find variation you know, I'm
allowing that fluctuation to happen, but ultimately I'm trying to keep
the value relatively similar.
As I get towards the shadow, it can get a little bit darker, as I get towards
the light on the left over here it can certainly get a little bit lighter.
And you know, what we want is a theme with some variation.
So that's typically what you're going to find in the flesh tone.
I see people sometimes really mix a color over here until it's just one flat color.
That's not really what we're going to find.
What we want to do is use these primaries to have this overall
theme that we can reproduce.
I've got this orange theme here that I'm neutralizing with the viridian.
And if I want to steer it a little bit rosier, I'll just, you know, amp up the
percentage in alizarin and, you know, so it's really, it really becomes a little
bit more of a living flesh tone instead of just a static, flat flesh tone.
You know, dipping in a little bit
- so I, so, you know, I have the ochre, the red and the green as the average,
the, you know the starting point or the, you know, the three primaries that can
- they comprise the majority of, you know, the average flesh tone.
I'm dipping into the transparent oxide red, just a little bit to, cause
it's starting to, I'm starting to sense that color in here, you know,
has this really nice warmth to it.
So I'm just introducing - it's like, you know, a recipe, just a little bit of that,
that, you know, peppering in a little bit of that transparent oxide red to create
that warmth, that subtle warmth there.
So like I said, I'm trying to work pretty pragmatically here.
I've got some of the flesh tone established.
I'm going to stop.
I'm going to try to make some more color in, because I don't that - I
liked this color for the flesh tone.
It's not too saturated.
It's not too light or too dark, but it's still just a guess.
It's a guess until I - until I have something here and
something here to compare it to.
A color doesn't exist all by itself.
It has, it exists in a context of other of, of what's right next to it.
So I need to establish the background.
I need to establish the average flesh tone color.
So the easier one for me would be the background.
And I know it's darker than this and it's grayer and certainly bluer.
So let's use the same colors to create something in that family.
I'm sticking with these same colors because essentially they're primaries
and they can mix every color.
I just have to get the proportion right.
Right now it's not, see that it's way - it's, you know that's not what that is.
And that's darker.
But this is great.
This has a green ring to it, but up there it has more of a violet ring to it.
So I'm just going to keep pushing the green and alizarin which this
is kind of representing my blue.
This is certainly my red and I'm just kind of pushing, that has tons of yellow in it.
So it's neutralizing that violet appropriately.
So you can see I'm using the same thing to create the flesh tone
and say in the background, which creates harmony or connectivity.
It's just, the ratios are different.
The value, certainly okay.
I'm still a little bit of a, in a green hue.
So it's hard to tell.
It's hard to tell exactly what hue family, a gray as in that becomes
a challenge that we need to kind of become sensitive to, but I'm sensing
that it's the value is appropriate.
That's what's important at first consideration is always the value is
more important than the hue family.
If I'm okay with the value or the hue family, I can continue.
If I'm not okay at this point, I would stop.
I wouldn't just arbitrarily keep massing things in.
I would stop right there and I would tune this right up against the
flesh tone and make sure that this relationship is appropriate right here.
That's what I mean by - this would be the next step.
Once we get our drawing right, then we start to block in color in values.
I wouldn't - I'm not just gonna go on because I put something down and now
you're going to start doing detail.
No, I need to really assess this relationship between that and that, and
make sure that it's close enough that it has a ring to it that it resonates
what I'm seeing in terms of value
first, in terms of color next.
For example, I can sense up there.
I know for a fact that the color up there is tilting more towards this alizarin,
this kind of lavender ish kind of quality.
So if I really want to shoot for that, I should deal with that now.
I'm actually okay with this.
I don't mind the variation.
I don't mind the green spin on it.
The value is okay.
It's gray enough.
It's not too saturated.
It's not distracting.
I like it.
So I'm going to settle on it.
You realize that once you, if you can get your values, right, you have
all the freedom in the world with color to do different things and to
explore possibilities with color.
So I'm going to keep mixing more, because I'm running out.
I'm not going to try to make this last, I'm going to just keep using more paint.
If I get the mixture all messed up because I put too much of the wrong
color in, that's a great opportunity for me to steer that mixture back in
the right direction and understand how to get the color I'm looking for.
Now I'm back where I need to be.
And on top of all that I'm developing a pool of paint here or an amount of
paint to work with, which is important.
This'll be my cache.
My theme was variation.
It's a workflow.
Mixing color is about a workflow.
It's not about being timid to put paint on here and get it right.
We're only using three colors.
So put as much on there as you want, get it wrong, in fact, and then
steer it back in the right direction.
You're better off doing that because you're
- once you get there, you're going to have a boatload of it to work with.
You're going to have an abundant amount to do your painting with.
And you're going to learn what it is about working fluidly and not stopping
and not questioning what you're doing.
You might as well just assume you're going to get the mixture wrong
first and that you have to test it.
Nope, no, no, no, yes, kind of thing.
So I'm gonna, I'm gonna block it in all about to right here, just to kind
of frame the head and shoulders.
And the next mixture is going to be right here.
This flesh tone, this shadow value, the flesh tone.
And I'm not worried about any kind of detail yet.
Just worried about the relationship.
The only thing that should be accurate is the relationship of values in color.
These could be square swatches.
For all the, you know, because if the swatches of color are right, it will
resonate with what we're seeing in it.
We will - we'll be going in the right direction, but we're just kind
of using the swatches and massing in this area around the portrait.
Now I want to get a little darker up here too.
I don't want my background to be too flat.
I'm seeing a gradation from here to here.
It's lighter up here.
It's darker as I get down this direction.
So I want to create some kind of theme with that background.
And I actually think I'll - I think I kind of want to get darker here too up here.
So maybe just dark around this area and then a little bit lighter
and more illuminated behind her, right around this area.
So it'd be lighter right around there.
So I guess I can add a little bit of, a little bit of black up here.
So you can see I'm dark - I'm darker up here and I'm gradating down.
Just so that, I mean, light gradates, if you're starting to put flat color
anywhere, you know, be careful unless it's purposeful you know, light gradates.
So that's going to be a real important or real helpful tool.
It's helpful to represent that light is falling across the scene.
So we're, that was our second sitting.
So what we've done is we've kind of established our pose.
We're starting to establish our values and our color relationships,
but we're still not sure.
We're not dealing with detail yet.
No - there's no detail.
The only detail is the proportion and the average relationship.
Once we dial this in and our proportion is okay, and this is - and the relationships
are okay, the next thing I need is this.
Once we dial all these three things in, as they intersect,
they'll all be intersecting.
There'll be no more white of the canvas.
Then we can start to refine because we'll be - we'll have
the right color established.
We'll have the right scene established on our painting as
we're experiencing in real life.
color for the shadow value here.
What I need is my, I need to understand my light source.
I need to know that - I need to know that what the light source
is in order to make something.
Two things need to happen.
If my light source is cool, two things need to happen.
Which it is, the light sources is cool today, we have a fluorescent light source.
Two things need to happen.
It needs to be darker than this and warmer than that, because if our light
source is all of this is supposed to be hit by cool fluorescent light.
The opposite is true in the shadows, the shadow isn't, the shadows are an
absence of that fluorescent quality.
So they're warmer, the dark - so the shadows are darker and
warmer in contrast to the lights.
So I can go darker.
That's actually a purple, so that's not warmer.
This, when I look at it, if I have to, that's not a brown, it's not a red.
In relationship to that it feels purple.
So I can't stick with that.
I have to warm that up.
I have to - that's not cool.
That's colder than that.
This feels orange.
That feels purple.
So I'm going to warm that up a little bit more clearly.
So to warm using these three colors is just my own orange.
This is getting warmer, but something else is happening too.
It's also getting lighter because my yellow is a light value.
So I have to make sure that it's two things, it's warmer and darker than that.
I'm still darker.
So still in a safe place here.
So I can see, I can continue because I still have a good contrast there,
but the more yellow I use, the lighter the value is going to get.
So I need to be careful this, in other words, I have this mixture
has to be tuned very carefully.
So, you know, like we used to say, we're not necessarily - when we're
using a minimal palette, like three primary colors, we're not mixing the
exact color that might be there in that neck area in relationship to her.
But what we are mixing is an exact representation of the temperature
variation and the value of variation.
So in other words, yes, the value is exactly right.
This is that much darker than that.
This is that much lighter than that.
Furthermore, what we're mixing is the correct temperature relationship.
This is warmer than that.
Now, determining that is going to be the challenging part.
If we're not familiar with these mixtures, how do we know this is warmer than that?
It's subtle isn't it?
I mean, these are - we're talking about muds and grays and stuff.
It's not obvious, this isn't that, we know that's warm.
You know, this is cold in relationship to that.
So how do I know that this is warmer than that?
This is starting to feel like a nice warm orange.
You saw me over here mixing this, adding more and more red and yellow to it.
So that's right.
What am I technically doing over here?
When it becomes difficult to tell where we're at we need to be more
measure oriented, scientific about it, mathematical about it, meaning
that this mixture mathematically has more of this than that.
So I'm infusing more of this and that proportionately in
the mixture then I have green.
Now there's certainly green in that mixture, but I'm overwhelming
it with orange to make sure that it's warm enough mathematically.
Now, how do I know well, what was in here?
So I need to know mathematically what was in here in order to know that
absolutely this is colder than that.
So what was in here was I started with an orange.
I added some green.
You can see the green right there.
And what else did I add to make to that mixture?
I added white.
White is the coldest color on the page, right?
So mathematically, I've got a lot of white in here to
lighten it up and mathematically
I have quite a bit of green in there to cool it down.
Did I say warm it up mathematically?
I add a lot of white to cool this color to cool this orange down.
I also added quite a bit of green to ensure.
So there's a whole faction - there's a mathematical faction of coolness to the,
to the light value of the flesh tone.
See that, see how cold that is?
So mathematically, it's got that going on.
There's undertones of this going on in there and you know, and then, so
I can add a little bit of this orange in there with all of these undertones.
And now that's what I mean is mathematically, this has more
cooling properties than this.
You see what I'm saying?
That's how I know for certain that this - look at that.
This is colder than that.
I don't want to get too scientific but we need to understand a few things.
If you read the alla prima book, it will tell you, it'll tell you that white
is the coldest color on our palette.
Colder than blue, you know with that, with that property in mind, we know
that when we add it we're infusing, you know, or making this colder than that,
even though this appears to be part of the orange family, color temperatures
relationship is relation to one another.
This is part of the orange family.
This might be part of the orange family too, but inherently, this has more orange
in it, less cooling properties in it.
Therefore mathematically it's warmer than that.
If we can think of, if we can start to think of it that way as we're mixing.
Ooh, I need a cool, cool, you start to understand what's in your
mixture and what's in this mixture is predominantly orange and a
little bit of that and no white.
So we know that it's heavily weighing warm, you know, does that make sense?
When it started to get to purple was because they had too much green.
That's a really cool color.
It overpowered the mixture, it turned it into purple and now it was questionable.
Blurring your eyes is different from squinting your eyes.
Blurring your eyes.
We'll merge colors together, squinting your eyes will merge values together.
So it's really important to squint.
Figure that out a long time ago, and it's important to get used
to it if it's uncomfortable, it's because we're not used to it.
If we're not sure what we're looking at
that's big, that's being uncomfortable.
And that means we're not used to it.
That means we need to get used to it.
And if, you know, we need to start wondering what it is I'm looking for.
When I squint, why am I squinting?
What is it I'm finding?
What is it I'm trying to perceive when I'm squinting?
How are things merging when I'm squinting?
And how do I design
the painting effectively based on the squint?
Those are the questions that matter.
I got my value in and it's dark enough there.
So now what I've, what I argue is what I have here is I have a decent block in
that's based on proportions, it's based on landmarks, based on my center line.
I'm still very aware of where my, the pit of the neck is.
Where the sternum is in relationship to the socket and so forth.
And I blocked in light and mass.
So I'm in an area of shape now, but that doesn't mean I'm ignoring form.
It just means that in order to achieve shape, you have to lose the line.
So there's no more lines on the painting.
It's all just shapes fitting together with the proper values, proper temperature.
Now we're going to re-introduce form by creating a half tone.
The half tone is the third value we see, so we have one,
two values, light and dark.
The half tone is the one in between.
So I'm not looking at her and asking myself in Photoshop what color is that?
What I'm looking at is I'm saying, okay, where does the shadow begin,
where does the light begin?
What value is right in between there?
I need a value that's darker than this but lighter than that.
That's what belongs in the half tone.
We've already keyed the light and darks.
If they're keyed properly, when you put that thing halfway
through, it's going to be proper in relationship to what we're seeing.
So this is pragmatic.
This is the business of not trying to paint color swatch by swatch.
This is about creating a system of effective turning of the form.
So I would say that's halfway.
And then if you look on the screen, I mean, you can start to sense the roll.
It's rolling softer because that's a proper half tone.
The value is it goes light, middle, and then dark, it falls off into shadow.
If it, if this is darker than that and lighter than this.
And so I can go through all the form edges now with the similar value.
Now it's easier said than done.
You have to be very careful and each stroke has to be
measured and carefully mixed.
So that it's halfway in between this and this.
This is a form edge right here.
We need to a roll this form edge here.
So we're rolling that edge of shadow, immediately we start to see volume.
Roll this chin over
Now the area of the nose, it looks, shape oriented.
It looks flat.
It looks rigid because I started with a nice, simple graphic shape.
Now we're going to create form.
We're going to soften that form.
We're going to roll the nose into a cylinder by creating a half tone.
This is - I'm using a redder hue, but it's still, the value is still in between.
It's darker than the light and it's lighter than the dark.
But it's redder because in that band, in that area of the nose,
there's just more blood vessels close to the surface typically.
So it helps read.
There's a lot more warmth than the nose.
So right along my design, I'm just going to put a really
narrow transitionary value.
I'm just going to follow right along that edge.
Will that create that roundness to the cylinder of the nose.
Same thing for the front of the nose, there's a U shape.
So I'm going to go or a V shape.
There's one - not dark enough.
See that's where you're you know, in these small areas, it doesn't
mean, you know, it, this is no different than the breast or the arm.
It's just a really small cylinder.
So you have to be extremely surgical and precise
with your half tone.
Half tone is just really,
it needs to be drawn more carefully in that area.
Now, since my half tone got large, I'm going to go back to my dark
value, the under plane of the nose I'm going to re-establish
the dark under plane of the nose.
So I'm looking for the shadow value again.
It's warm in nature.
So got a lot of red in there.
I can tell there's some transparent oxide red in this mixture.
I can tell that this is much darker than everything else.
So it's darker and warmer because it's a shadow.
So I can draw with that darker and a warmer color and feel safe.
I can work on the drawing and be safe, working on getting
that proper shape just right
and knowing that the temperature is just right, because
mathematically the mixture is appropriately warm to
be drawing in the shadow.
This is why, I mean, this is why, you know, going back to the light source,
starting simple, getting those big things are so important in having a principle
behind them because when we're working on these small shapes, the drawing
is so challenging as it is that we can't be questioning the temperature.
We can't afford to put a wrong temperature in there and disrupt
disrupt the sense of light while we're drawing, because we can't go
back there and heat that up later.
Well, we could, it's just a pain in the ass.
You don't want to have to be doing damage control.
You want to try to make sure that you're drawing with the right temperature and
value so that you can get it right.
And once it's right, that's it, it's done.
That's, that's not bad for now.
I'm going to roll this top edge of this Brown.
See how this is sharp?
Started out sharp and decisive at first, but you can see the highlight above the
brow, which means that as it rolls to the under plane, that by definition is a form
edge and all the form edge is despite how sharp it looks up there, all the
form edges we're going to, we're going to treat with the transition, just to create
a clear, this looks carved out, it looks
Now it doesn't mean I'm going to put a really broad transition.
It just means it's going to have a half tone softening agent to it,
just to turn it under like that.
Back in my light shape here.
I want to paint a little bit of a light shape on the brow.
I'm just going to continue to craft these really small shapes as careful
as possible with the right temperature.
If I'm happy with the relationship of the brow to the rest of the portrait, the
brow, the nose, and this general area.
If I'm happy with that, then I'll go in and place the mouth.
But all the likeness resides here first, even in that soft where the likeness
resolves and the skull structure, the brow, the nose starts there.
So that has those shapes should be, should resonate first before the mouth.
See people put the mouth in all the time.
It doesn't - doesn't start there.
And the mouth can flatten the portrait out really fast if
they just get to sharpen there.
So should be introduced carefully.
Just warming up that transition as the forehead goes into the hair, it's
typically going to be a soft edge.
And if you think about it, the hair is casting a shadow onto her
scalp, which means that that's a shadow, shadow is going to be warm.
Therefore that transition into the hair is going to be relatively warm and soft.
I'm just going to - I'm just going to put a little bit of
a placeholder for the mouth.
Just, just subtle, soft edges.
Just a little bit warmer too, because of the lip color, but
under - and then that's it.
And then I'm and I'm going to come and I'm looking for the form of the mouth.
Not that, not the specifics, the planes of the mouth.
So there's an underplaying under the lower lip.
So I'm in the shadows zone under the lower lip.
So that means I'm going to heat it up a little bit, darken the value and squint,
and just try to place this really small but clear shape underneath that lower lip.
These are all just impressions.
simple and sweet.
And that ultimately first we have a solid carved out hand
that has hierarchy of values.
It's lighter in the separate left quadrant.
It's rolling as it goes across the form, you'll notice that the
shadows are still very sharp.
The cast shadows are still very sharp from the nose onto the neck and so forth.
And it's just sculptural at this point that we haven't got into any detail
believe it or not.
All that is it's solid, but all that is just structural.
This is the stuff that we see from a hundred yards away that represents
the person that we know or whatever.
Making sure those cast shadow edge have a - I'm purposefully
creating a sharpness there.
And here I've also taken advantage of a sharp edge against
the bridge of the nose there.
And to create a strong overlap, the nose is in front of the socket.
There's a sharp edge.
There, it's a dark value behind the nose.
And I'm trying to take advantage of a few series of sharp edges in the face to
really create a variety that has purpose either creates an overlap or it dictates
a shadow type or an edge type, whether it's a cast shadow or form shadow, trying
to be very purposeful about the form turning language and a sharp edge on this
side of the face, where the cheek meets the dark value of the hair, and then it
drops off and maybe gets lost as it goes into the softer portion of the cheek.
So we have to be very resourceful, especially on a head this small.
It's almost, it's just bigger than the size of my thumb.
So it's, I mean, it's small.
But this is what we see from a hundred yards away that creates
sense of solidity and structure.
And that creates the important things.
Then we drop the detail into there.
And you can see how understanding just simple values in a simple procedure
that applies to everything else in the figure we're going to, we're
going to turn this with the half tone.
We're going to turn this with the half tone.
You know, we're gonna get that solidity working everywhere.
And once it is, then we can start to introduce more little, sensitive details.
you have - what you have to do is you have to find some points of
reference that you don't let drift.
So for example, if you, right here, the plane break of the
chin is a really critical point.
And right here, the hairline is another really critical point.
Now we know that, but you have to also find the brow ridge.
We know that.
Now ignore everything else.
And understand very mathematically the distance between those three
things and the proportion of them.
That is very, that's - that's a unit of measurement.
And you need to be more precise if you're letting things float around, like for
example, if you get close to it and you obliterate it, what you've done is
you've lost your unit of measurement and you can't be precise anymore.
So you have to, if you have trouble losing the size of the head, it's
because you're having trouble keeping track of that unit of measurement.
The main thing too, is the placement of the brow.
If, for example, you placed the brow just a bit too low what happens is
you start to cram all of these little features into a really small thing.
You make a forehead really big.
And when the features are too small to like, like this and too cramped together,
and the head is really large up here.
We relate to the face, the mask of the features as a human sight psychologically.
So if they're too small together for the body, which has grown, then the
head is going to appear to be too small, the head might be the right size.
But the spatial relationships of the features being too close gives the
impression that the head is too small.
So what I see people do all the time as they do, they follow this rule,
that the eyes are halfway down the head or whatever, which is bull crap
based on where our eye level is.
It's what matters is - what matters is this mathematical distance
of where the browse starts in.
Typically it's going to be there and look what that does that opens up
the triangle of the face and thus the features of the face more prominently
making the psychology fit would fit better with the rest of the body.
So you have to ask yourself, see this triangle here?
This one here, is that triangle or piece of pizza proper the right piece
of pizza in relationship to the body.
So you can take that piece of pizza and start to compare it to the
breast or to compare it to the knee.
How many pieces of pizza down is she seated?
For example - and I say pizza, because when we see a pizza, you know which one
you want, you don't want that one, or you don't want this one that you want that
one, the one that somebody probably took.
Now, what that means is there's a specificity to the piece of pizza that
you need to associate with that and make sure that you're putting the right
piece of pizza on her and not the wrong one, because if it's the tall narrow
one, which you need that - you want that other one that's right in the
middle, you know, it has to be that one.
And so you can start to look for points that associate with that, and you can
more tune that compare and move that thing around and compare it to the
foot, compare it to the knee, compare it to look at this triangle right here.
You can compare it and how many pieces will fit in there.
You know what I mean?
And I'll tell you what we're talking about is spatial relationships in
that it's hard, but the only thing I can say is create as best you can
metaphors to keep track of those things.
And at least that's what I do.
Just trying to, re-establish a little more of my drawing here.
I'm gonna, I'm gonna elect to try to, you know, cause I'm limited on time, so I have
to really pick and choose my battles here.
So what I'd like to do is establish this wonderful gesture of the entirety of the
figure instead of focusing in on resolving something to a higher degree of finish.
I think I want to get more of that to kind of gestural quality of the figure
as a whole, which is why I chose this composition because I liked how the
legs were functioning within that.
So I want you to stick to that idea.
And along with that thing with the portrait is that's one of the more
common things I see happen is, you know, the face will shrink.
It's - for some reason, it's rare that it grows, it tends to grow on my paintings.
I don't know if that's because I'm overcompensating for something
I'm aware of, but what I'll say about that also that we really
need to adopt in terms of process
because that's what our theme for the day is here is that
there's no frustration allowed.
Everything is a problem that we should approach with enthusiasm and excitement.
If you think about it that way, you're much more likely to solve the problem and
do the math, do the required measurement and the grueling task of getting that
- getting your mind wrapped around the issue and then executing it properly you know,
technically executing it with the brush.
And then what happens is the act of painting becomes fun and not as - well
becomes funner because at the end, our results are going to be better.
But the process of embracing the challenges that are never going to
get easier becomes enriching and we, we just steer into it and that, in
terms of process is huge revelation and doesn't come natural to
everybody, didn't come natural to me.
I had to I, you know, I, you know, it's frustrating.
But once we start to have victories and recognize the value of developing
that patience and that strategy and seeing the end result, it becomes,
you know, we embrace that sensitive or that sensibility in our process.
At least, I think that's my opinion.
I think that's really important.
You know, there's a term that says, or there's a quote that says Sorolla
used to paint like a pig eats and that's a different approach.
Maybe, you know, I think he certainly enjoyed and embraced the - all of the
wonderful things that came along with
- the wonderful problems that came along with painting because boy did
he solve them really well, but he maybe did it in a different state of
energy and vigor and with a different level of passion and you know, energy.
So if that, you know, if we paint that way, we need to understand that's fair.
If every, if someone needs more room to start flailing
paint around, I say go for it.
Whatever makes it funner.
Sometimes sitting down really carefully and you know, isn't our cup of tea.
And sometimes I want to paint, I want to flail like that.
And I do.
And sometimes, I just want to be very careful and discipline and
solve the problems, you know,
in that way.
And so just something to think about.
I think I learned that watching Lipking paint many, many years ago, I mean, he
just didn't see just the world just didn't seem to affect him at all when he was
doing what he was doing and meanwhile other people would be, you know, it's like
the turtle and the hare type of thing.
And you know, it's just nice, slow, steady, thoughtful process.
And by the end of it, the statement, which is just really
beautiful and clear and patient.
And that was the big revelation.
I just I've just watched him paint in, had the good fortune of being around.
He would come to our class, Ryan Wurmser taught a wonderful class at California Art
Institute buddy school, where Glenn Orvick and Fred Fixler school I should say.
And he would come to our class and paint every once in a while or Ryan's class.
We had a great group.
You really got to load that brush and you don't want to - you want
to get in the habit of using and understanding how the brush is loaded.
I think, and use paint, you know, abundantly, so that it's rich, so that
it's, you know, so that it's fluid.
And so that it behaves in a way that makes oil paint a really wonderful medium.
I mean, those are the properties of oil paint is the fluidity of it that make
it so great as it flows into each other.
So, yes, it is challenging, but your brush should be fully loaded
each time you put something down as you scrub around in there.
If it start to you know, I mean, I mean, you have to understand a lot
of varieties of paint application.
If you, sometimes we need to scumble, sometimes that means just a little bit
of paint we need to scumble sometimes we want to wash that requires some mineral
spirits to thin the application down, there's a variety of reasons and we should
be aware of have them all in the shadows.
Typically a good rule of thumb is that you want to have enough paint
on there to get full coverage, but not necessarily thick paint to where
it's impasto or breaking the surface.
You don't want, I mean, just in the beginning now that rule certainly isn't is
not a rule, which it's, it can be broken.
There's always, I've seen, I've painted thick in the shadows before, but as
in a process like this, and we're limited for time, just a good idea
to keep the darks a little bit more transparent or a little bit thinner
than the lights so that you can model them so that you can model the form.
You can scope the lights like right now, I'm trying to put an abundant
amount of paint in these darks.
It's a little more transparent, but I have a full coverage here and now I'm
really going to load the lights here.
With, you nice squeegee that paint off the brush and really try to load that
paint on there abundantly and you know, lushly and you know, you got to look at
a lot of paintings, look in the museums and look at, go to shows and look at
the surface quality, ask yourself, how do you make a brushstroke like that?
How do you - how much paint are they using?
Are they using a lot of paint or are they making a stain?
Is your, is it a stain or is it a painting?
I mean, I dunno, you know, and there's no right way.
It depends on what type of painting we're looking for.
And you can build it up over time, like a Rembrandt, or you can paint it
in one pass in really aggressively, like a Sorolla or whatever.
And so we need a kind of a lexicon of approaches to draw from in here,
you know, definitely abiding by the kind of the lights are thicker.
The darks are relatively thinner.
So it's not a bad plan of attack.
That way you can start to model the form a little bit and make those lights
really have a little bit more dimension, physical, like actual physical dimension
and, you know, it adds to the richness and the lushness of the painting.
If you load that brush and really commit to that brush stroke,
there's a freshness to it.
When the, when the brush stroke is loaded and committed to, and
we put it down with, you know, a sense of a conviction, you know?
So I'm just trying to mask this in and I'm just trying to have some fun and,
you know, paint pretty aggressively and just put a lot of paint down and.
Just try to paint the big idea.
I'm not trying to paint anything, you know, anything too, you know, too
preciously at this point, just trying to shiny use paint, block things.
terms of the process we're just, just trying to get a good start.
I think if we have a good start finishing the painting becomes pretty easy.
It's just more noodling and more careful articulation of shapes and edges.
Just putting these half tones and trying to get a big immediate read.
For example, all this is front plane of the shoulder is in this nice half tone.
So, again, just move a little faster, a little bit more real time, play
with the values and turning the form.
This is a sharp edge, which should be a form edge or a soft transitional edge.
So try to block that in.
And depending content, I mean, this is actually this plane of the leg is
actually the thing that stood out the most, the reason I made the figure this
small was to really try to get this in.
So I don't want to miss that point.
This is all supportive with this idea right here is it's really nice.
It's a lot of wonderful gesture and expression to this lower leg here,
especially as it meets the ground plane.
I mean that ground plane, that color as it hits that shadow is really important.
So now I guess, you know, while she's gone, I, you know, I kind of remember
the essence of what's going on.
I'm just using my primaries to play with the design.
It's, you know, it's, I'm not going to change anything so dramatically
that I should lose anything.
But if I want, I know that I want to heighten the values of this,
this plane of the calf and play that out compositionally so that the lights I'm
thinking about the light motif or design.
So for example, there's nothing wrong with kind of going for the big idea
and not the specific thing without the model, know the model with the model.
There will, you know we're we know that we don't want to kind of.
No run the risk of doing the drawing without looking and making it wrong,
you know, that's there's yeah.
I mean, there's a time and a place to know, you know, when, but I
don't have anything so important here that I can't just kind of
play around with the light design.
And so I know that, for example, I want this to really be light.
I really like this leg.
I want to play this leg up, so maybe I have to play the value up and then
I can play the values up somewhere else to kind of accentuate the light's
coming directionally from this way.
And you don't have to do that.
It just, I mean I'm just, I'm going to have to stop.
So I wanna, I want to get something that has a conscious to it.
I want a light design that has a, you know, an impact, not just something
that's blocked in that doesn't, I want to, you know spoonfeed it, make it
really clear to the viewer, what it is
I'm trying to say about the direction that the light is traveling.
I want this to be really illuminated all of these.
For example, all of these upper left quadrants to really be punched.
So I might against this really nice sharp edge cast shadow.
I might punch that, that highest note right there and you know, play that note
a little bit louder and then also play the adjacent note right here a little bit
louder and create a continuity and start to examine the bigger scheme of a light
motif light hitting that, light hitting that and really tell the story even more
accurately than I - then just kind of not conscious, you know, unconsciously
placing lights where you observe them.
This is a little bit different and I do observe them here, but I have to make
sure that they're working together to tell that story, tell that consistent
story, but the direction that the light is traveling here, hitting there, maybe
hitting the side of the foot down here,
Bring this up,
playing one more note.
There's nowhere else in the painting that I've used vermilion tonight.
So if I play it right here in the heel, it's going to say something that magically
a little bit more, a little bit different about that area than everything else.
So, you know, maybe I want to kind of make that statement.
You down in that toe.
So we have to, at some point once we block things in, we have to have a strategy for
the light narrative or
the hierarchal narrative of importance.
I really like, I mean, this is, has to be drawn exquisitely.
If it's not it's not gonna do what I want it to do, but first things
first, if I can, while the model's not there, I can get the values there.
So the light narrative starts to play light plane, light plane, light.
Then when she gets back, I can use the time, a little more wisely to craft that
rhythm that we talked about in the two minute pose, the next break, I can go
back in and block in the background and so forth, you know, so I mean doing that
because I'm pressed for time, but it's, it's not a bad idea to be thinking about
these narratives because eventually if they're not in there where, you know,
the painting is just going to be a straight observation or boring, right.
Just reshaping this drawing of this lower leg here.
Just trying to really get some of the important gestural qualities going on
here, this leg, since it's going back.
See, I have it really light right now.
I played it up on the break, but what I'm seeing as I'm seeing
this form, this form fit in.
So it actually kind drops down in value just a bit right there.
That's going to help it recede in space, a little bit more, kind of a nice
quality, something you can't, you know, something that you have to be - that's
one of those things you gotta be careful if you start painting without the model,
Knocking that back just a little bit.
Still playing up we're pretty light right there.
Just playing those two things together.
Bottom of this calf or gastrocnemius is this is beautiful, like tone,
very subtle tone right here.
This gives it all this volume though, right there.
Just trying to be immediate about it.
Something like that.
And that little furrow for the inner portion of the tibia, ankle.
So this hand is really foreshortened.
So we just kind of put some accents in there.
Just to get it to read as if it's really kind of bearing, bearing some
weight here and a warm up as well.
Put some warmth in there.
Let me see what's here.
And these crevices here and these occlusion shadows or these pit shadows
I'm trying to just really quickly just represent that warmth, that warm idea
by putting a little bit of cadmium red in there to heat that shadow up,
make sure that it reads clearly so that it doesn't get mistaken as a cold
occlusion shadow or a cold accent.
Small shape, smaller shape here.
Yeah, it really I'm kind painting this - this just reminds me a lot
about the five minute pose.
It's, it's not much not much different in that way cause I'm, you know,
I'm just kind of thinking about the contours about the rhythm things of
that nature and, you know, introducing a little bit of form using just
three simple values essentially.
And you know, just trying to create a really gestural painting and
using a very simple set of values and color to do that drawing.
And as long as those that simple set of colors is acceptable and representative
of what we're seeing, that's fair game,
all the relationships should be - should be right.
The value of the background in relationship to the shadows, in
relationship to be - along this contour for example, I can mass this in and I
can go back in and find dark against light against dark light against or
lost against found, sharp against soft.
So I'm going to go ahead and block this background.
Try to play around.
I'm going to loosen things up as they get further away from the figure.
Also gonna get a little bit darker as they get down in here, slightly darker.
I can't get too dark because I can see through here and see it
through these values or do this leg and find some lighter values in
relationship to the shadows on the leg.
Trying to lose any lines to some degree.
Lines are essentially just really narrow shapes of shadow in this case.
Edge to edge.
Get full coverage here and then maybe we can go back and manipulate
a few of the edges at the end.
Really trying to squeeze that paint off and just have fun
with the abundance of it.
Still using those primaries.
This light stuff I'm going to probably paint in the flesh tone, shadow value
of dark against - dark against light.
Some I'm just going to leave that open for now.
Right here is really subtle value relationship.
It's almost, imperceivable the background in the shadow on this little tone right
here, as it turns into the background is almost the exact same value as
the background, but it's a little warmer because it's not painted gray.
It's a flesh tone.
So this is that really beautiful, a subtle relationship of color value.
When things fall into place
I mean that's what we're, that's what this is all about is that when the big averages
are accurate, these smaller really subtle relationships also fall into place.
And that is, can be magical.
Going to have some fun and let this be loose out here.
It's a good day.
You can see, I haven't done a whole lot with this arm here.
I'm getting really close to the edge.
So I believe I'm okay.
I believe I made it fit but since I'm dangerously close to that edge, I'm not
going to play up the detail too much.
I'm going to let that kind of be suggestive and use that lack of
resolve as a tool to not make that closeness feel too uncomfortable.
So that it, you know, feels reasonable, or somewhat acceptable
than it's at close to the edge.
So now I'm only going for the essentials here.
And I would argue or make the argument that under the time constraints,
it was a good idea to keep my block in efficient, go for the big ideas
in terms of value temperature.
And now I can just simply draw with what's there
and go for only the things that are absolutely necessary at this point.
And they are kind of falling right into place.
Like this little value here.
This little light value on the bicep on her left bicep.
It's barely getting grazed by light and as it runs into the
leg it's really close in value.
Would never - that's a really challenging color value and temperature to understand
without, and have fall into place
if the big scheme of things wasn't established.
So now if you were to put these, if you were to put this color in Photoshop
and match the swatch to what is on her I don't know if it's going to match,
but that's not what, that's not the - we're not matching the exact color.
Trying to match the relationship of this subtle value and its subtle
sense of illumination in relationship to the rest of the painting.
And I would argue that in terms of gray scale, if we were to put it
in a - if we were to put the image in gray scale and compare, I'm very
confident that the values would be very close in relationship or at least the
percentages of variation between the knee and that bicep would be proper.
And that bicep in the background would be proper and that bicep, in
the lights over here would be proper.
That's what I mean by getting accurate relationships.
That's really important to understand.
Otherwise we can just look at the model and just be lost, trying to
go for individual tiles of color and match them you know, one by one.
We want to look for the big idea, the big set of relationships throughout the entire
painting and simplify them, block them in.
And that's how we'll establish and maintain continuity
throughout the whole painting.
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1. Lesson Overview26sNow playing...
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2. Drawing Lay-in and Making Adjustments19m 16s
3. Creating Under-layer Wash and Blocking in Lights and Background24m 29s
4. Establishing Light and Shadow Masses23m 35s
5. Adding Transitional Tones and Further Procedure19m 9s
6. Refining the Painting22m 18s