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Contemporary Portrait Painting
Kristy Gordon, New York Based Artist And Teacher
1. Portrait Painting: Introduction
2. Portrait Painting: Materials and Canvas Toning
3. Portrait Painting: Proportions of the Face
4. Portrait Painting: Underpainting
5. Portrait Painting: Brush Techniques
6. Portrait Painting: Light side Color Lay In
7. Portrait Painting: Shadow Side Color Lay In
8. Portrait Painting: Big Form Modeling
9. Portrait Painting: Feature Handouts
10. Portrait Painting: Ear handout
11. Portrait Painting: Restating the Features
12. Portrait Painting: Describing the Smaller Forms
13. Portrait Painting: Rendering the Eyes
14. Portrait Painting: Rendering the Nose and Mouth
15. Portrait Painting: Finishing Touches
In this 2 hour and 30 minute class, professional artist and teacher Kristy Gordon will take you through the stages to developing a portrait painting in oils. She will demonstrate in oils but you can use acrylics and apply the same techniques.
You will learn how to tone your canvas before you begin and how to use oil paints so that they're fun and easy. Kristy will walk you through measuring techniques that will ensure that you get accurate proportions and a good structure to your portrait.
Next you will move to color and learn how to render form to get a three dimensional look to your portrait. You'll learn how to construct the eyes, nose, mouth and ears by glazing to fine-tune the details.
Please download the attached files, which include handouts that describe the construction of the features, a supplies list, a full palette handout, as well as my source photo, which you can work from if you would like.
Upon completion of this class you will have a portrait painting which you are proud of.
The beginner will learn fundamental principles such as how to mix colors and render form modeling. The more advanced student will discover how to take their work to the next level and achieve the finish that they desire.
Check out my other classes:
Portrait Painting from a Photo: Underpainting (part 1)
Portrait Painting from a Photo: Color (part 2)
Portrait Painting with a Full Palette
Glazing and other Paint Application Techniques
Composition in Art
How to Paint a Baby in Oils
Painting the Portrait in Profile
How to Paint the Flesh Tones
Painting the Eye
Drawing Facial Expressions: Determined Eyes
Kristy Gordon
New York Based Artist And Teacher
Kristy Gordon has twelve years of experience teaching and conducting painting workshops, lectures and classes throughout North America. She is an adjunct professor at the New York Academy of Art and has taught at numerous schools and academies including the National Academy in NYC, and The Academy of Realist Art in Ottawa and Boston. Gordon has exhibited her work in solo and group exhibitions throughout Canada, the United States, Europe and China. Her work has earned numerous awards including the Elizabeth Greenshields Foundation Grant and an Exceptional Merit Award from the Portrait Society of America. She has been widely featured in magazines, art publications, radio and television shows, including International Artist, Fine Art Connoisseur, The Artist's Magazine, Southwest Art ... See full profile
Painting Fine Art Acrylic Painting Oil Painting Portrait Painting Creative Ear Modeling
Your assignment is to create a full color portrait painting! Follow along with me as I show you how to develop a solid and well structured underpainting, then move to color lay in, mixing rich and lifelike flesh tones. From there you'll move to refining the features and details.
Please download the attached files, which include handouts that describe the drawing of the features, a supplies list, a full palette handout, as well as my source photo, which you can work from if you would like.
Let your painting dry between each stage. If you are using a drying medium such as Walnut Alkyd Medium, Drying Linseed Oil, or Liquin, it will be dry the next day. If you're just using linseed oil it may take a couple days to dry between layers (touch it lightly to check).
This class is demonstrated in oils but could be applied to acrylics as well. If you're using acrylics you could use Acrylic Gloss Medium as your medium, instead of Walnut Alkyd Medium.
Be sure to post your finished painting in the Project Gallery, I'd love to see how it turned out!
Beverley Gordon 24 likes
Adelya Mordalimova 18 likes
Mabu Sandoval 15 likes
Kim Graves Lanoue 14 likes
Painting the Ear
How To Paint Flesh Tones
Painting the Portrait With A Full Palette
1. Portrait Painting: Introduction: hi and love contemporary portrait painting with a full palette. I'm Kristi Gordon and I'll be your teacher for the class. I've been a full time artist since 2004 and I'm showing my working galleries across Europe and North America and taught classes of places like the New York Academy of Arts and the National Academy in New York. In this class will be demonstrating with oils, but you're welcome to apply the same techniques for acrylics as well. I'll walk you through all the stages, starting with comparative measuring to show you how to get accurate proportions and a good structure to your under painting. And then we'll refine the under painting, getting a clear, light side and shadow side described with just burned number oil paint. Next will move to color. Lay in where we'll start by blocking in a flat color for the lights and then describe the color for the shadow side. And they'll be a view of my palette the whole time. So I'll describe how it is exactly that. I'm mixing every color that I'm using. Then we'll move too big for modeling to establish the egg shape of the head and the cylindrical nature of the neck and chest so that there's a good sense of formed here painting before removed to the details. There will be a special focus on how to describe the eyes, nose and mouth so that you'll get a good structure to the features when you start to refine them. And then we'll move to the finishing touches, really looking at edge quality and also looking at how to describe the hair in a really hair like sort of way. I'll provide a photo of the model that I'm painting, too, so you'll be able to follow along with me as we go. So let's get started and I hope you and during the class. 2. Portrait Painting: Materials and Canvas Toning: in terms of the materials. I have my palate set up on some white palette paper, and on the palate we have titanium white cadmium, yellow light, cadmium, yellow deep cad, orange cadmium, red light, ah, leisure and permanent burnt sienna yellow Oakar, some cobalt blue, Floridian, green, alter, marine blue, ivory, black and I also have some premixed mixtures. This is a mid tone grey made with ivory, black and titanium white, and we've got a base flesh color that's made with the cadmium orange, the titanium white and a little bit of this blue mixture. And the blue mixtures made of ultra marine blue and some titanium white and lastly, have what I call a base shadow color mixture that consists of ultra marine, blue and cadmium orange. I have a range of brushes of Phil Burt's and bright brushes, and I have some blue shop tells, as well as some walnut Alcon medium, which I have in a little container on my palette. So there are various mediums that you can use for a glaze. This one here is one that I really like. It's by gambling, and it's called solvent free gel, so it's actually nontoxic It's made with a base of safflower and Alka painting medium. And so it does speed the drying a little bit, and it also has a little bit of a thicker consistency, which I'll show you why. But that could be really beneficial. And then I also use walnut Alcon medium, which also is non trump toxic. It's thin like linseed oil. It will speed the drying a little bit. And I'll show you the benefits to that as well. A some of the drawbacks. And you could also use something like liquid liquid has a thicker group here. Sort of feel it is toxic. Um, for me, I like to keep my process nontoxic. Um and so that basically shows you the basic mediums and will be working on a toned canvas . So next I'm gonna show you how to prepare your canvas. We're gonna start by preparing our canvas with an acrylic base, Jess. Oh, so I've got this white acrylic gesso here and some black acrylic paint and some yellow ochre acrylic paint. This is some liquid acrylic. This is a to paint, but either one will do. This is just what I've got today. We've got some liquid tax, some gold. And I like those two brands in terms of acrylic brands, and I'll be using this foam brush to apply the paint. That way it'll get a really smooth, even code free of ridges from a paintbrush. And essentially doing this is really gonna be important because it basically like smooth the texture of the canvas so there won't be the kind of like bumpy, sort of texture of the canvas. It'll just smooth it out, making it to be a really nice service to work on. It'll create like a mid tone tone to work on so that as you develop the painting, you can pull up the lights and it'll stand out against the middle tone of the ground and deepen into the dark, said. It's just easier to work on, then the white canvas. So to get started, I'm just gonna dip my brash my phone brush. This is about a two inch foam, brash and width right into my white acrylic Jess. Oh, and I'm gonna be mixing it right on the canvas. Let's take a little bit more, but you'll notice there's not a whole lot, So if I use too much paint. I'm going to get ridges. So I wanted to eventually be a fairly a really flat and not too thick coat. I'm just gonna put a little blob of the black. I'm gonna mix it right on the canvas surface. Just a little bit of black. The black is really powerful, so I want to creep up on the amount of black and I'll use more yellow Oakar proportionally compared to the amount of black that I'm using. It is the yellow car is not quite as potent. It's a little sloppy just mixing it on the canvas, But it'll we'll mix it together and see what we get. And basically, we're going for like, a mid tone color. So like a mid tone grey, but just a little bit more into the greenish kind of range. So I've added a little more yellow Oakar. This might be a little dark as well. So put a bit more white. This is just white Jess. Oh, so it's not white paint its weight, Jaso, and that looks pretty good. So now I'm just going to kind of pull it all the way across the canvas fairly vigorously and It's thin. It's a thin coat of paint that's even a little bit too yellow. Hot, Let's add a little bit, were black to the mixture and a little bit more of the Jess Oh itself. Just mix that all together. The color. You know, that can change a little bit from time to time, so it'll vary. But generally I like it to be close to gray, but just a little bit in the greenish range. The yellow car helps it be a little bit more greenish, so just kind of vigorously. You can see that I'm like changing up the direction of the stroke like I'm not just going line line line. I'm kind of changing it up. And by going over any places that has little blotches, it just mix it in, mixes it in more evenly, and that I could just lightly brush across to smooth it out after to really make sure that there's no ridges. So I'm just like pulling it all the way across the whole canvas, first changing the direction of the strokes and then once I've got the whole thing covered , then I might just go kind of across to really flatten out any strokes and then maybe go, you know, in other directions so that we don't get any strokes that are any one way, and it's okay to have some variation. I think that's even beautiful to have some lighter spots and some more transparent areas and more opaque areas. That way you're starting right from the start with a beautiful looking, slightly varied kind of visually appealing surface with which to work on, and there that will be a really nice surface to work on. 4. Portrait Painting: Underpainting: we're going to start with a burned number under painting, so I'll just be using burnt umber oil paint along with the wallet. Alcon medium as my medium. And I'll be using these two bright brushes, bright brushes, other ones with the square tipped tops. And they're gonna carve out nice, clear lines and shapes in this under painting fees. Yeah, and I start with this like, ah, loose, super loose gesture. So this is like, basically like a silhouette. And, um, really, the only thing I'm like looking at right now is like, how big do I want the head on the canvas? I think I want more head, you know, like height wise. And like last body, you know, I don't want half in half. So just like compositional considerations only and I also like to leave a little more space in the direction that the faces like looking and a little less space behind. So in this case, I'm not placing her right in the very center of the canvas. I'm having her a little off to the right, in my case, but it's really dependent on the direction that the faces is looking. Yeah, and then I kind of want to see how high when the head to be so that I can have a little bit of her nice white shirt like showing as well so you can see like I'm not being really precious about it. I'm not going in for the eyes. It's probably not, you know, properly proportioned yet It's really just like a compositional start. And then once we've got that and that's when we can start to, like, apply the proportions that we're talking about. So I'm going to take a look at the height of the head and then see, does that look like 3/4 of the height of the head? It looks like it's a little too wide and will be coming at that, um, that with from a few different approaches. But just as a start, I think it could be like, a little narrower. I'm using a lot of oil at this stage, so it's easy, as you can see, to wipe it off like it's not like a committed mark. Yeah, and then let's also take what I'm gonna do on the model is I'm gonna basically take this height on my brush and then I'm gonna compare it to the verticals of the face. So let's do that on the model. Yeah, and it basically comes to about the eyebrow line, which is just a bit below the hairline. So this will probably have to move up slightly, and then the next things we've got, like a basic height and width of the head. The next thing we remember is that the eyes are in the center of the vertical height of the head, and I'm just using like lines like this is like the prospective all line that the eyes, like, sit on. So it's just lines and dots and dashes at this point. So if the hairs here the eyes air here, the next thing we want is that 3/4 the three, the equal 1/3. So and again, it's from the hairline, not the top of the head. So from the hairline to the chin, we're gonna divide that into three equal thirds, and that's gonna basically take us to the bottom of the nose and the eyebrows. So now we have a lot of information. Just agree some of those extra loans. Yeah, so now we can start to kind of paint in a little bit more getting like the nose with this area really watch. Like take a good observation of the distance from the cheek bone to the knows. There's a tendency to make, you know, to make the nose too far over to make this distance to too wide and do not capture the turn of the head. So I'm really looking at it and noticing that the tip of the nose almost touches, but not quite, but it almost touches the cheek edge. And then, in terms of the most, the halfway point on that height, the bottom 1/3 measurement is the lower edge, the edge of the lower lip. And so just above that will have our upper lip. This is like the shadow underneath the lower lip. Yeah, with the placement of this I over here, we're gonna want to really anchor that in. So I'll take I basically will take the measurement on my brush. This is what I'm gonna do on the model. And then I'm gonna turn it vertically, Compare it to the verticals of the face. So I'm gonna get that on my brash turn it vertically Yeah, it's basically just over, like, just a bit higher than the bottom of the nose. So I'm just gonna put a little dot there so that now we know where the outer corner of the eye is. We're gonna really look in detail at the rendering of the features. So for now, just kind of do subtle indications, not really going too far with the rendering. And then let's also anchor in that important place where the ear meets the jaw. And I think it was two of our base 1/3 measurement. So let's see one to yet it iss. So basically 12 Yeah, I could tell that needs to move in a lot. That kind of helps narrow down. She has, like, a slender face, so I want to get that tapering quality into the bottom. And then to place the ear, we can take a horizontal plumb line across from the bottom of the nose horizontally. It's aligns with the bottom of the ear, and then the top of the ear is partially covered by the hair. That's nice. I like that, but it's very top would be aligned with the eyebrow line, and then in terms of that angle measurement that I was talking about before. Let's take an angle measurement of this hairline here. So basically, take my brush, close my eye one eye and tilt my brush until it's like running alongside the angle in question. And then I'll take this brush. This is the important part, and I'll physically place it like on the canvas, and I'll just tilt it until it's running parallel with this brush, which is holding the angle. And now we can just trace that on. So your view of the model or your photo reference have to be basically parallel to each other in order for this to work. So basically, we're going to be using lines and dashes and angles to just get the linear aspect mark in. We're gonna map in the shadows and next, but we're just gonna get the basic proportions first. So let's get the width of the net by comparing it to the verticals of the face and the width of the neck basically comes toothy tear duct of the eyes, so it's pretty good the way it is. Actually, another really important one is just to establish first of all some language. So if we have, like, say, a curve, uh, this is and there's kind of a bending part in the curve. We're going to call this most bending part of the curve. The eight packs. So with the apex of the chin right here, let's take a vertical plumb line through that apex and can compare it to some of the apex is in the forehead, just to see or even to compare it to the verticals of the face. So, basically, actually, on the model, this point here is vertically aligned with the apex of that shin. So that is gonna help us get the relationship between the forehead and the chin accurate. That's looking better. Yeah, and then we can also take a measurement. You want to be as careful with the heights down to the shoulders as you are with, like, the measurements in the face. So I'm gonna take basically this measurement and compare it to the verticals, and it basically is 1/3. We can take an angle measurement across the slope of her shoulder and then let's see. Let's take a measurement of the distance between her shirt sleeve to the other shirt sleeve . I'll take the whole width on my brush, turn it vertically and then compare it to the verticals of the face. And that is actually exactly accurate. What? Look, um and then, yeah, let's just, like move through the sort of shirt angles, taking angle measurements. So we're basically really anchoring in the angles. That's going to give a lot of structure and visual interest, um, preventing it from just being like a generic curve with the apex of her necklace. Let's take a vertical plumb line up through the face. Yeah, so it needs to move way forward. It's vertically aligned with her pupil. Actually, then we'll take an angle measurement. There's definitely going to be some leg refinement to be done in the features. I want to just check the corner of the mouth one more time, so the corner of the mouth vertically aligns with the pupil of the eye. So it just needs to move back a little bit further as well. So that basically shows you how I would start by just getting the basic proportions down, first checking like widths and heights and angles, and then next we're gonna basically block in the shadow pattern. So I'll have you guys do that first and then we'll do the shadows next. So the next thing we're gonna start to do is map in the shadow patterns. So for this, he might want to squint a little bit and kind of remember that we've got, like, a main like Unisource lighting coming this way on the face. And so anything that's in shadow. Well, just map in with and so squint as you're doing it and really just like map in the shape. So allow yourself to lose the eye for now, just like map in the whole eye socket as being in shadow. And I love the lighting on the model the way we've got. Like, there's a little bit of true shadow into the jaw like the cheekbone area. And then and then, Actually, the tricky thing here is that we've got a little bit of true shadow coming right on to the chin and then also being cast onto the neck. And there's, um, I'm gonna use a bigger brush to fill that in. There's what's called reflected light. Do you guys see? Like the slightly lighter note in between in there. It's a little bit warm, like, kind of like a reddish orange that's called reflected light. And that is part of the shadows. And so, for now we're gonna leave out the reflected light and just map in all parts of the shadows , all with a unified statement so that we can really get the shadows feeling unified right from the start. So for like example, we're gonna put the whole ear into shadow. We're gonna put everything in the hair that's on the right into shadow, and I'm gonna lose thes lines initially. And then I'll use a little bit more peer oil paint to kind of re state the line. But basically, we just want to make sure that everything that's in shadows is like fully in shadow. There's a little shadow, little cast shadow being cast from the nose onto the face. And there's also a little form shadow on the under plane of the nose. So we've got two types of shadows. We've got form shadows, which is like the shadow on the form itself. And then there's cash shadows, which is the shadow being cast by the form onto another form. And when we get into color, we're gonna look at, like differences in color temperature that occur in, uh, in the difference between form shadows and cast shadows. Yeah, And then there's a shadow underneath the lower lip, the kind of like wraps into the chin, and then the whole upper lip is in shadow. And I might just be to use my rag to pull the lower lip a little bit down and also to adjust this I think it came up a bit too high. Yeah, and then on the body to we want to get like, you know, there's a little bit of a form shadow on the side of her arm, and that's about all that. I'm really seen in terms of shadows on the body. So yeah, that shows you how to start map mapping in the shapes of the shadows and just fill them in with a good, solid tone, feeling everything in the shadows in and we're gonna go into the rendering of the features after that. So at this stage, I'm going to start to use more peer oil paint. Not as much oil. I might even just take a rag. And just like lightly dabbed at some of the parts to take excess paint off in places. And, yeah, I'll just started to put in like the eyes. So we've got that angle straight line going up the apex favorite in towards the nose. Just like all the things that we talked about. I'll just do a dark note for the whole Iris. I won't bother putting in the description of the pupil versus the Iris were just sort of going to keep it fairly loose at this point, but just starting to get more definition in there and then we've got If we look at the eyebrow here, it angles down slightly and then it lake inserts into that place that we talked about just above the eye of the tear duct, inserting into where the nose meets the face to bed. A little of that going on out there, Um, yeah, and then make sure that you really like a line the eyes so that they're on. They're basically just straight across like the perspective is such that, um, there's basically a horizontal alignment between them, and you don't need to go into a ton of detail will go into a lot more detail in color. This is just too get things mapped in a little bit more clearly. Um, with knows, maybe I'll just give, like, a little bit of definition to the shape of the shadow of the form shadow. That kind of suggests that there's like the fall of the nose. And then there's the nostril. I'll do those two little angled straight lines to show the nostril hole, and then I think I could adjust the lips a little bit. Her upper lip sticks forward more so, and you can kind of see, like in there, that we've got that you know, the angles that we talked about, and but more, more prominently. We've got the sort of horizontal at the end that anchors it all into place. And then we've got, like, a subtle suggestion of the muscles at the back. And then we've got the definition of the shadow underneath the lower lip, rounding into the chin. I could actually put a little bit more hair on this side, and now that I've got more in in terms of the description of the features, I'll be able to take a more clear measurement of the hair. So I'm gonna take a measurement of the width of the from the back of the head to the place where the year inserts into the face and compare it to the verticals in the face cause I know where they are now. And I can see that I could add some more hair. Yeah, so that basically shows how I would start to just incurring the features a little bit more clearly not going too far, but just a little bit more of a definition to the features and will move to color next. 5. Portrait Painting: Brush Techniques: Before we dive in, let's take a look at some of the brush strokes I'll be using to create really smooth blended transitions in my painting. So the first brush stroke is called the airplane stroke. So say I've got like a face edge here. This is a little just pretend this is the neck and the jaw for example. And let's put a little bit of a shadow note under the jaw. Now, as I blend out this shadow note, what I'll do is I'll start with my brush is fully loaded with the shadow color right now. And I'll start with my brush in the place where the color is really there. And I'll kind of lift and pull my brush off the canvas. So it's kinda like an airplane taking off. So we've kinda look at it to the side. The stroke has kinda lake. And so I'm like lifting and pulling or they go so it's like an airplane taking off. So it's like I'm lifting and pulling as a go and it creates a kind of blended and right at the end of the stroke, funny enough, the, how an airplane going by above us. I gave you then the recording. But so it especially works when you're working wet into wet and you've got one color on your brush in one color already down. And you can see that as I lived in pull, it basically blends rate at the edge of the place that I'm pulling. So that's called the aeroplane stroke. And then the other brush stroke is what I call the wiggle stroke. So I'll just kind of restate the shadow here. I'm just going to actually warm it up a little bit too with a little more burnt sienna. And so I put it down and see how it's got. Let's even sharpen it up a little bit more. So say you put it down and it's quite sharp wherever the color, where the two colors meet at this point, we've got wet paint here and what paint there? And now what I'm gonna do is I'm going to take my brush and my rag. This is a blue shop towel, but you could use even a cut-off t-shirt or some paper towels. And I'll take all the paint off my brush so it's pretty much clean and kind of dried too. And I'll just do this little side-to-side wiggle as I kind of move my brush along the edge. But I'm trying to soften and it'll sort of the brush will pick up paint as it moves down. So you might just wipe the brush off again and you know, in kind of do it one more time. This is a stroke that takes a little bit of getting used to sort of figured out how to, you know, kinda maneuver the paint. There might take a couple wiggles along the line, you know, to just create a nice soft blended transition where it's got a soft edge. And basically the smaller the wiggle, the sort of more precise the shape of the edge. It will still be liger. I still reads the end as sort of right about here. But the truth is that there's no We're designation of where that edge happens. So again, if we look at it on the lower edge, now let's look at how wide or wiggle. So a broader, expansive soft edge. You can see that it, you know, the wider the kind of wiggle that you do, the more gradually blended that edge will be. So I use the wiggle stroke a lot, especially as I'm turning. Let's just wipe this off year. So say I wanted to like turn the edge of the form, having it darken as it moves to the edge. And I introduce a darker note right along the edge of the form. Then I'll often just do just a nice subtle little wiggle where the two colors meet. So that's a really useful brushstroke to know and to work with. So that's what I call the wiggle stroke. And then the last sort of fresh principle. Let's just sharpen up these edges one more time is paint the idea of painting across the form. So you can see as I'm kind of putting the stroke in initially if we, if we're imagining that this is the jaw line. This way that I'm putting the painting like this is what I would call painting with the form. And it's often the easiest to do. Like say this is the line of the neck. Again, painting with the form following the shape of the edge is really like the easiest way to put the paint on. It's the way we kind of automatically put it on, but it actually enhances the sense of form if you paint across the form. So if instead, as you put that paint down, you're kind of tediously painting across the form. And so a lot of the time the wiggle stroke will actually come in handy for that. You might sort of initially put it down with the form, but then kind of break it up with a little wiggle or just painting. Basically, you want to have the brush stroke go perpendicular to the shape of the edge. And I can change direction a little bit at those, it wouldn't look quite right if every single stroke is exactly perpendicular to the edge. But overall, the general principle of painting across the form is damped the stroke go perpendicular to the edge. So let's look at the application of the airplane stroke in the case of hair. So what I'm doing here, I use this greener brush. This has, as you can see, some long hairs and some short hairs. It's called greener because it's like good for wood grain. And basically I'll just mix up a kind of brownish color, a fair amount of medium on my brush. This is also going to be useful for eyelashes. I take the excess off my brush so there's, it's not dripping with paint. And if we do an airplane stroke is going to really enhance the hair-like texture. So again, the airplane stroke is where I start with the paintbrush firmly on the canvas. And then as I go I lift and pull and it kind of creates this tapered edge. And with the greener brush, it creates a really lively kind of edge. So as I'm doing, for example, eye lashes, let's just draw in the shape of say, an eye here, this is our upper eyelid. To sort of roughly. You can kind of take your grain or brush and start with the place where they start on the line. That's where the color is firmly there. And kind of lift and curl and pull as you kind of go along the edge. And so that's kind of using the airplane stroke to create eyelashes. So those are some basic principles of different brush techniques that we'll be using as we work. And I hope you find that helpful and until you applying them to your work. 6. Portrait Painting: Light side Color Lay In: for color early, and we're basically gonna block in a basic light side and a basic shadow side color for each element in the painting. So this is our full palate, and I use this palette for everything. Like even landscapes. This will be the same palette that I like always use. It's basically arranged in like an orderly fashion, from the warms to the cools and like from light to dark. And then we've got the premixed mixtures over here. And then, like in terms of the colors, will be using three words to describe color today. So the first issue, and that's like the color of the color. So yes, Sir Hugh is the color of the color. So, like oranges like the huge is orange and blue is another hue. And then we'll to be using the word like tone or value. So that's like the lightness and darkness of a color. So, like yellow is like a light tone, value means the same thing. The blue is like a darker tone, and then the third word is saturation, which is like the intensity of a color. So, um, like yellow or red is like a really intense color, whereas, like brown, is like a de saturated orange. Basically, um, and so like if we're looking at skin tone like our skin is like an orangish color, but it's not like orange. It's like a de saturated orange. So what we've done is we've basically mixed a blue, which is on the opposite side of the color wheel toe orange so you can use, like the color opposite each other on the color wheel. Complementary colors to de saturate. Basically. So we've mixed like a little bit of blue into the orange mixture and that d saturates it, Um, And then you've also got our shadow color mixtures, which again are using the complementary color mixtures of like orange and blue or green and red. And, um, yeah, And so, as we move forward into color, lay in. Basically, what we're gonna do is we're gonna start by, just like taking some of the color. I would start with just, you know, the flesh color and just put a blob on the canvas and then judge it based on those three parameters. So the hue, the value in the saturation. So what do you guys think in terms of the hue like, Is it the right just color? Like not thinking? What tone is it? Is it to read? Is it to yellow? What do you guys think? That's Yeah, I think it's pretty good, too. I wonder if it could be a touch yellow Er, yeah, it's just like a feeling thing. Maybe just a touch. Yeah, maybe that's like affecting it for sure. Yeah, so? So that's the thing is we don't have to be perfect from the start. We put it down and then we judge it, Um and so once you've got that, so with color Lay and we're basically just looking to get, ah flat color throughout, we're going to start with the lights, and I'm using a bigger brush. Now. This is actually a Graner brush that has some long here's in some short hairs, but it doesn't matter. It just needs to be large, safe and work rapidly. And as we move down the face, it's getting progressively darker and progressively de saturated because, um, the late sources coming this way and so its brightest in latest like at the top closest to the light source, and it gets progressively darker and de saturated, which is called Fall Off as we move down the face. So I'm gonna mix a little bit of blue, just a titch of that blue mixture in as we move, like into lower regions of the face maybe a little bit more orange as well, so that it's darker and de saturated, and at first it can look a little bit weird at this stage. Um, because we're not, like getting all the rendering in, um, And as I move into the cheeks, I'll just like, add a little bit of red. I'm working like broadly lake and sort of rapidly like I'm not getting fixated on little details, and I'm crossing over the lines. So by the end of today, we really want to make sure that we've got, like, the full color lay in. So everything blocked in will do the light side first and the shadow side separately and next. And we wanna have all of the under painting covered so you don't want any like lines, you know, burnt umber lines showing through at the edges as we like rule to the temples. It looks a little bit blue, ear like it gets a little darker and a little cooler and overall and feeling like the colors still feel a little red. I think the forehead especially, could just be a little bit more like yellowy orange. So we didnt just kind of apply a bit more of that on top. And I'm not using any medium for the block in of the lights. I'll use medium as I go into the shadows, but it's nice to have the lights kind of thick. So more opaque paint. Yes, as I moved down the face and using a little bit more of the blue and just yeah, letting, allowing it to sort of cross over the lines, not being like super precious so that basically, eventually they'll be like an interweaving of the brush strokes, like from the lights to the shadows just interweaving into each other at the edges. And as it rules to this side, it gets like darker and cooler. So I'm gonna make it darker with a little orange and red, just like deepening the color of my flesh tone. And I'm actually going to just dip a little bit into the space flush color. The more greenish one, which is made with the ultra marine blue and cat orange. Let's take a bit more of that. So everything that's in the shadows, which is everything that we did with burnt umber yesterday, we're not going to go into that yet. We're just rounding towards it but not touching the shadows themselves. So the upper lip is part of the shadow. But the lower lip is part of the lights and that will just add will use their base flesh color and just add a little bit of red, the cadmium red into it. So it's just a little bit pinky er. I kind of like thes Graner brushes, cause it allows it to just be, you know, not super precious, not super linear like more blended together, a little bit more painterly at this stage and then for the lights of the hair like the lights are a little bit cooler. So I'll start with the burnt Sienna brown color and let's put a little bit of this green, a shadow color mixture. And then, since the lights are a little cooler, I'll use a bit of gray to just lighten it up. And for the hair just because hair is kind of silky, I'll use a little bit of oil. Just look that in its again. Gonna look like a little strange at first, like almost a little bit grayish. But when I get the other colors in, um, into the shadows, it's not gonna look gray. So maybe I'll actually just put a little brown around the edges so that we don't feel like it looks to three. Yeah, And then we still want to get, like, the lights of the body in as well. So the body, like if we think about the planes of the face, the plane of the forehead is facing at the top upwards towards the light and the chest also is like facing a little bit up towards the light. So it actually looks kind of like orangy yellow. We similar to the forehead. So just walk that in. Also, in terms of like, the direction of the strokes, I'm going sort of across the form. So if there's like an end shape, I sort of one I like if their, um like if we're looking at the shape of the edge, the linear shape of the edge, I don't want all the strokes to be following that. I kind of wanted to be, like, changing it up or sort of going across the form. Actually, I'm liking this color that I've got on my brush a little bit better. It's a little bit richer. Yeah. So even, like in this cheek, If we look at the shape of the edge going this way, I'm gonna kind of tediously wiggle my brush side to side so that the brush strokes are going perpendicular to the shape of the edge. Yeah, so that's basically the color lay in for the lights again. We haven't touched the shadows at all. So I'll get you guys to just go ahead and get your color Lee. And for your lights first, you will move to the shadows next. 7. Portrait Painting: Shadow Side Color Lay In: Yeah, So we've got the colors all mapped in the lights, and now we're gonna start to, like, map in the shadows. And so basically, I'm going to start with my favorite shadow color mixture color, which is the cadmium orange and the ultramarine blue. And it's like slightly more of a greenish color, and I'm gonna use this is just a little container of my woman Alcon medium. So for the shadows, I will use some medium cause it's nice if the lights are a little bit thick and sort of built up in the shadows or like a little transparent, and it gets to be sort of transparent, which you can see, like with the addition of a little bit of medium. Um And so this obviously is gonna be too dark for the shadow. So I'm just gonna lighten it with a little bit of this space flesh color. And I'm gonna try that. Yeah, And so, as I put like a little bit on, I can feel that it feels somehow not dark enough. Let's try a little bit more of this and maybe even just like a drop of green. I just wanted to be like a little richer. Maybe that's a bit too rich. Let's add a little yellow Oakar and a bit of this brownie stuff. Yeah, I just felt like it felt to grayish blue in the beginning. Yeah, that feels better. So I'm going to start by just like putting that sort of through the shadows. This is really a lot thinner than the way that I painted the lights. And as I get to the edge where it meets the light, I'm just doing like this teeny little wiggle. Do you see that lake? It's as if I've got a really shaky hand or something, just like a little wiggle side to side. As I move my brush down the shape of the edge, it's wiggling side to side, so it's creating a perpendicular stroke along the length of the edge. So basically, Lake is blending in a little as I as I go. It's also making a soft edge India that looks really nice to have soft edges for the neck. It looks so basically you've got form shadows, which we talked about. That's the shadow on the form like the chin has the form shadow. And then there's cast shadows, which is the shadow being cast by a form onto another object. So the neck has a cast shadow on it, and Kath shadows air a little cooler, then form shadows, which are a little warmer. So when we think of warms and cools like the warms air, like our yellows and are reds and the greens and blues or more like are cool kind of icy colors, and it can also just be in relation to other things. So when I talk about making a comment like this cooler, I'm basically just making it a little bit. Lhuillier, like not super Blue, but just a little bit blue here. And I'll just introduce that in and again doing like a little shaky wiggle stroke as it meets the lights. And just like a little wiggle like, if you kind of go crazy with it, it'll all blend everywhere. So if you just do like a little wiggle, it kind of makes a controlled soft edge while still maintaining the sort of shape that's there. And then in the eye sockets, I feel like there's actually more of a warmth to that shadow. So warm, meaning like ready yellowy In this case, I'm using burnt sienna. And again, I'm always using, like, a little bit of the medium. The woman l could medium for the shadows and this could be darker. I feel like the warmest part is up here, like in the front of the shadow. And then it gets kind of just, like, more neutral as we move back and I'm gonna go right over the eye. Let's use, like, a little bit of a smaller brush. Um, but just with a thin paint so you can kind of, like, see the I still in there, But but I'm not gonna like tediously avoid it with little strokes that would just make it look kind of flat and weak and gonna really go forward and get like, full coverage in the eye sockets, knowing that, like, if I really start to freak out later and want to find where I put that I in my under painting, I can always like, get my rag and oil and just totally race like what I've got. So there's really no risk involved with the nose again. We've got the same situation with, like, the warm, So a little bit more of a burnt sienna form shadow. So that's on the lower plane of the nose. The whole, like bottom of the actual knows form itself. And then we've got a cooler. So slightly blue are cast shadow coming down onto the nose and with the late and we've got really beautiful lighting, like I love the lighting on the on the face. The only thing is that we have this slightly strong, slightly long. You see it more from the other side cast shadows. It's just like a little bit too long. And, um and I know a lot of my artist friends, and I joke about it being like Hitler mustache sort of lighting. If it gets to be too long, I think you especially run into that from the other side. So I'm kind of gonna put it in, and then I'm just gonna go back with some flesh tone and cut upon it and soften it and lighten. It just sort of understated. Um, this ear is totally in the shadow side, so it's really important that we really set that into the shadows, keeping it nice and dark years and fingers and noses and everything that sticks out like a little bit pink. Here they have more blood flow. So I'm adding some red to the color, but it's definitely dark. Nothing in the shadows should be a light as anything in the lights. I'm gonna switch. I've been using, like, thes two large brushes, you know, so far, but I'm just going to switch to this like slightly smaller right to go into the most the upper lip. This is This is actually a magenta color, but normally I would use a lizard permanent. But yeah, that I'm adding a little rid cadmium, rid. Let's add a little bit of black. I'm just looking to make like a rich, maybe a little burnt sienna to just to cut my magenta Penis, and we'll just state the whole upper lip as a nice, dark tone. There's also that cool cast shadow underneath the lower lip, which is what's giving it the definition, so that's like a greenish bluish kind of color. And then we've got the shadows of the hair so used the burnt sienna. If I just use burnt Sienna, you can see that's a rich, orangey kind of brown. So I'm gonna add a little bit of my de saturated complimentary mixture of the orange and blue. Um, yeah, a little bit more of that. Just to keep it not too hot like the burnt Sienna would be. And I'm gonna do what's called airplane strokes as I apply this. So with the hairline here, I'm basically like starting my brushes like, fully loaded. I'm starting in the hair where there's the full color, it's, ah, complete color. And then as a pull, I'm gonna lift and pull like a airplane taking off so that it creates this like blended stroke at the edge of the hairline. Sort of using the bristles of the brush to create a hair like stroke just with the application of the paint. And I'll do that as the shadows meet the lights to just like allowing the brush to kind of create hair like a shadow here. Like strokes. Yeah, and it looks like actually the hair in here. I could add a little passage of light side hair color, maybe a little bit later, a little bit warmer. Yeah, and again just using the brush sort of twisting and pulling to, like, create hair like stroke. So I'm like, kind of twisting and wiggling my brush as they go. Yeah, and then, lastly, let's just, like complete our color early and with a blocking for the shirt, which is, I mean, it's a white shirt, but it's not actually white. It's kind of, you know, there's some lighting patterns on it, so we got some lake grayish areas. The top plane of the shirt is maybe a little bit more, um, cream colored. I also have a little shoulder here that got missed in the first passage of the color. Lay in for the lights. So I'm just gonna kind of go through and, like, complete everything, make sure there's a color land for everything. Now that the shirts blocked in, I could do a little bit more of the like hair on top of that on. Yeah. Then there's also the fact ground color. So I'm gonna kind of clean off this brush a little bit. That yellow probably won't allow already. And I'm gonna use a mixture of both of these yellows, maybe even a little bit of white to make it a bit more. Okay. All right. Better white. And I'll start by applying it, going with the form, in other words, following the line of the shape of the edge of the face. But then I'll pull it out from that and sort of motion up so that it's not ending with, like a halo shaped that surrounds the head. So it'll take me a little bit to get the whole background blocked, and I might just complete that during break so that you don't have to watch me block the whole background in. But that basically shows how it would complete the color lay in getting the shadows in and making sure that there's a light side shadow side for every element of the painting. 8. Portrait Painting: Big Form Modeling: So we've got the color lay in done. And next we're gonna move too big for modeling. So big for modeling is basically getting like the big forms, like the egg shape of the head and the cylindrical nature of the neck. And so that basically means like darkening towards the edges and like lightning in the center of the forms. So I'm gonna use kind of like a shadow color mixture, something with a bit of the greenish mixture in a little bit of blue, mixed into a little bass flesh color. And like on the cheek over here, I'm gonna just round this form into a slightly darker note, starting first with the linear shape of the edge of the face and then just doing a little wiggle stroke, I'm gonna use a smaller brush. This is just like a small bright Yeah, and so then I'll just do like a little wiggle stroke to kind of blend it in so that it's just darkening towards that edge. So I'm basically gonna work all the way around like all of the forms and just dark and the edges so that it has that rounding rounding of the form That's why it's called big for modeling. And sometimes it takes a bit to kind of blend it so that it, like progressively, rounds into that darker color. And so the same thing on the forehead. I'll just introduce, kind of with a stroke that is, painting with the form, the shape of the edge and then all kind of wiggle on the right hand side of it so that it's rounding into that darkest note. We also see a little bit of the hair itself, like right behind the top of the floor head, so I'll introduce a little bit of that with the hairline. It's nice to keep that really soft, Um, like a lost edge. So we're dealing with, like what's called like, lost and found edges. So the lost edges air, where you kind of can't tell where one form ends and another begins immediately, is a bigger brush. So, like right here, I could actually carry some of the flesh tone. We've kind of got an interesting hairline happening where the hair is kind of coming out at the temple, but we can't see where one form starts like where exactly the face ends and where exactly the face the hair starts, so just keeping it really lost. And let's see worlds. So on the edge of the arm to weaken, do the same slightly darker note. It looks like the top plane of the shoulder is like a little bit rounds into a sort of warmer. No. Where is the, um, this line of the arm rounds into a slightly cooler note, so it's nice to look for those kind of temperature shifts. Yeah, I think I need to give a little bit more of a description of where the shirt ends, and then the let's see the top plane of the other shoulder also rounds in kind of a warm. It's kind of turning into the shadow, and the shirt is also like turning into a shadow side at the top. And, yeah, let's do like the hair will just give the whole hair a darker edge. So I'm gonna use black and, oh, could I get that medium back right there? Yeah, so that's just will not Al could medium and, um, and whenever I do the hair, I use a bit of medium just so the brushstrokes flow fluidly. Otherwise, it could get like a little dry brush e. And I'll basically do like little airplane strokes starting at the edge and pulling in. So I'm getting the Big Four modeling of the head like the egg shape of the head by darkening into the edge of the hair. And you can also like, let your brush like I'm using a grain or brush, which it looks really shaggy, but it deliberately has some longhairs in some short hairs, so it gets really like hair like strokes. So you can kind of use that to get a really hair like edge quality. Which is why it's nice to have the background locked in at this stage so that if you do anything nice with the edge of the hair, it, um you know what? It won't have to be painted over if you have to still pay the background. Yeah, and then there's also a little just doing, like little airplane strokes along this edge to get that form rounding in, and then even like this form. As it rounds into the part of the hair, it gets a little darker into the part. There's a darker note that really like highlights that shin and the neck and then with the shadows. So you really want to, like, make sure that the form shadows and the cast shadows air unified. Like if you squint at the model, the form shadows and the cast shadows unify. And so you want your painting toe. Have that? So that's why you have put that in really unified first. And we've ignored the reflected light. But now we're gonna go in for the reflected light and I'm gonna use the face flesh color. I'm gonna use oil cause it's in the shadows and will use, like some of the orange and some red. It's like transparent cause. There's oil mixed in, and I'm not sure how strong this will be will try it and see you. It's a little too light. So let's go. Let's even mix like a bit of burnt sienna in that can help, like dark and but still keep a color warm, and I'm gonna use a smaller. So the key with the reflected light is to like make sure that, um, it's not as late as anything in the lights. So everything in the shadows and reflected light is part of the shadows has to be darker than anything in the lights, so kind of understate. The reflected light, in other words, make it a little darker than you think. And I think like with neck with the cylindrical nature of the neck, we're gonna want to kind of dark in this as it rounds into that shadow side just having it like Derek and in. And then maybe restate the darkest note and and you can kind of push the Big Four modeling to like. I don't necessarily see this rounding to a darker note, but it probably in reality is, and whether or not it is, let's make it darken a little bit. As it gets up to that edge, it'll just give it or form and then even like this later, part of the neck, it could darken as well as it rounds to the right. So that kind of shows how you like dark and all of the edges first. And then what we can also do is lighten in the center of forms, and we won't be going like as light like we're not gonna hit the full most latest notes. Leave yourself room to still like Brighton into the forms as we refine everything even further. But you can start to get more of a sense of the Big Four modeling by just going a little later in the center of forms. Just pulling out that sense of the form we can go a little lighter in the hair highlights to, and when I do, the hair highlights I'm gonna use. This is a small graner, so it's got like a small version of the longhairs and short hairs. But you can do it with, um, any brush, really, basically do it with a little zigzag, so don't do it with a bunch of lines. Do the hair highlight as a kind of zigzag that runs through the bend in the plane of the hair. And also, let's introduce the part. Um, well, just do that with a little wiggle of flesh color, keeping it like soft. Yeah, and let's lighten in the center of the chest. So we're not going for, like, the full rendering of the forms yet. We're going to start to block the smaller forms with more precision in the next phase, but for now, we'll just have you go through and darken the edges and light in the center of forms and get that sense of big for modeling. 9. Portrait Painting: Feature Handouts: I want to discuss some handouts that you can download and follow along with me. There's the eye, the nose and the mouth handouts. So download those print emote, grab a hard surface and trace along with me, and let's discuss them in more detail. Let's start with this more front facing I, where you can see the construction lines more clearly, and this center line that's coming through at an angle here represents the tilt that the I slopes either towards the nose or away from the nose. And this drawing the nose is on this side. And so it's basically the relationship between the inner tear duct on the outer corner of the eye. Obviously, it won't be in your final painting, but it's just representing the tilt. So if you you know some guys have, like more of a slope inwards like a characteristic feature, that's kind of cat eyes, some eyes characteristically slope away from the nose, and also the tilt of the head can change like the person. That perspective will change the Children they had eyes. So if the eyes, if the heads Children down the idol slope in towards the nose and if the head's tilted back . The perspective will make the eyes slope away from the nose so you can take like a horizontal plumb line. Check that relationship there and then and yet trays along. As we're going, you get a good kinetic feel for the construction of the features, so next will break the upper eyelid down and even see how are breaking this curve into two angled straight lines, with the apex favoring in towards the nose on this side. So breaking the curve into two angled straight lines, Apex waving and towards the nose, you can break the lower eyelid down into two angled straight lines with the apex favorite away from the nose on the lower edge. So you get this kind of skewed rhombus effect where the apex is, and I'm gonna be calling the turning most point on a curve, the apex where it's in, towards the nose, on the upper eyelid and away from the nose on the lower island and then breaking down the upper I'll increase. You can break that curve and two angled straight lines, three angled straight lines. And for the lower eyelid, you can break it into two angled straight lines, with the information favoring away from the nose. Look for an two angles to describe the eyebrow as well. Don't just do it as a big generic curve that looks really weak. Instead, break it down into two angled straight lines as well. And then the iris is fairly large, takes up half of the white of the eye, and it's partially covered on the top by the upper eyelid. That's really important because it gives the I more of a relaxed look. If you can see the whole top of the iris and the pupil in your painting, it gives it this like Stary by guide kind of feels. So make sure that is partially covered at the top to get that more relaxed look so moving on to the more rendered version of the eye. And again keep tracing along with me. You can see how the I curve Thea Upper Island breaks down into two angled straight lines, with the apex favoring towards the nose. The lower eyelid broken down into two angled straight lines. Apex gave away from the nose, which is on this side of this drawing as you do the final rendering you'll really curve out this lower lid and have it really wrap around the eye at the corner so you don't want like a big point on the corner, the outer corner of your eye in the final. Instead, he'll really wrap this around to show the curvature of the eyeball, then breaking the crease of the eye into three angled straight lines. They're slightly curving, angled straight lines. But really looking to nail those apex is, which is what's going to give the structure and solidity to your constructed the construction of your features and then the lower eyelid broken down. It's too angled straight lines favoring the back of the, you know, away from the nose. The iris, like I said, it's fairly large, takes up half of the white of the eye, and it's partially covered on the top by the upper island. So that's really important. Um, as you go into the pupil, those basically a cast shadow when the light source, which is this represented here, is coming down on the face. The upper eyelid has a thickness to its little cast, a shadow on to the eyeball, and you can use that cast shadow toe actually connect to the top of the pupil? A swell. So looking at this again, we're having the I the iris partly covered at the top. Then we're using a cash shadow that will come down on the I, and the pupil will kind of connect to that cow's shadow, so that gives it more of a relaxed look. This illustration down here shows how the pupil, when there's like a strong light on it, or when the person scared the pupil gets small. And when it's relaxed, or when there's like dimmer lighting, the pupil gets larger. So a lot of the time. If you're painting, say, a model from life and you have like a really strong light blasting on the model, their pupil might actually look small, so I'll tend to make it a little larger again, using that cast shadow that comes down from the upper I to connect the top and give it more relaxed. Look the curve of the eyelashes kind of curve and come off of the line of the upper eyelid , and they grow in clusters so they're not just evenly spaced or straight like this. They curve and crisscross and glowing grown clusters and the lower eyelid. There's some that curve and crisscrossing blanc grown clusters coming off the lower eyelid , and that's favoring the back of the eye. So there's not so much eyelashes towards the front. There's this really important little light rim of thickness to the sort of top shelf of the lower island, which is really important to get in. So really, observe that and definitely get that in. It could just be like one little brushstroke, kind of a pinky, flesh colored brush stroke. But it'll give a lot of dimension to your eyes and really make it look solid and structured . Also, don't forget the darker front plane to the lower eyelid. That'll help really solidify, like bringing the eye into the face. Um, the hot highlight of the eye little white dot, which is a reflection of the light source. It occurs right at the edge of where the pupil meets the iris coming from the direction of the light source, and I'll show you how all of this applies to the demo. And when I do the demo so and then looking at the profile, I you can see how the shape of the upper eyelid looks like a wedge shape, so it's like a triangle, so avoid the temptation to sort of pull it back and curve it to make it into the shape of an I know. It's like a full wind shaped like a triangle, the line of the lashes kind of curve and come off of that line of the upper eyelid. And then we've got the pupil looks almost just like a line. It's like a dark little line coming down off of the line of the upper island, and the iris looks like an oval. It's a circle in perspective, which is called in a lips, and there is this little clear dome in front of the iris, which is called the cornea. So you don't wanna have the colored part of the I extend all the way to the front. There is the little clear dome that sits in front of the iris. Also, the upper island has a certain thickness to it. They both do the lower eyelid as well, and the upper island has more thickness than the lower island. And so there's a certain angle created from the upper eyelid to the Lower Island. And also, if you think about like where the center line of the eye is like if we have our pupil, we have our iris, and we have the cornea and the sort of center line through that where the upper I crosses over the lower eyelid is just slightly lower than center, So the vertical height of the upper eyelid is taller than the vertical height of the lower island. And again, we've got that little light room of thickness showing on the top shelf of the upper island and then looking at the 3/4 view. Same considerations. Break the upper eyelid into two angled straight lines, with the apex raven in towards the nose, the Lower Island in the final rendering. You'll really round that out. Get that little top light ridge. Get that little light rim of thickness to the lower eyelid, and again make sure it really wraps around the curve of the eyeball. The iris from a 3/4 view will look like an oval, so we're starting to see the turn of the iris. It's not a full circle and also always set the eye socket into shadow, and that shadow gets darker, darker, darker as it rolls towards the crease of the upper eyelid. And there's the little darker front plane to be lower eyelid as well. So I think that will really help you as you refine the features refining the I and let's move to the mouth. So let's start with the front facing most and work through the center crease of the most. So it goes horizontal first and trace along with me and then angled straight line, going up, angled straight line going down. This is like a Big M angled straight line going up again, angled straight line going down and then that horizontal note again. And then the upper lip is sort of a curving, angled, straight line going up, down, up, curving, angled, straight line going down and the whole upper lip. When the light source is coming down on the model will be in shadow and the lower lip. We won't have any edge to describe the lower lip. The lower lip color will basically be like base splash color mixed with a little bit more cad, red and white, so it will be the same tone as the flesh around it. But it will be, ah, little bit pink here. So put in that tone than the pink your color. Take us off Russian wiggle along that edge to create a totally lost edge here and instead, the definition to the lower lip comes from the shadow underneath the lower lip, which will often be a cool ish color, sort of a grey green often, and then the lower lip is constructed of two circular fat pads. You'll get this little David in the center, and sometimes they'll be like a highlight running through here. Um, depending on the direction of your light source looking at the 3/4 most, it's the same considerations as the front most. Now you'll take all of the horizontal Zell's that were, you know, the base of the front view, and now they're receding to a vanishing point, which is kind of over here, and the whole face will really be receding to the vanishing point. The eyes, the nose, everything goes to that vanishing point, and so again, the center line of the mouth can be constructed with the horizontal and an angle straight line going up can go straight line, going down, up again. The horizontal distance is getting a shorter as it goes back into space down again and that little horizontal that anchors in the back corner of the most and then the upper lip kind of an urn angled straight line, going up, down, up, curving, angled, straight line going down again. The horizontal width is getting shorter as it turns back into space. The whole upper lip is in shadow when the light source is coming down on the model and it gets darker, darker, darker as it rounds into the center line of the lip and then the lower lip. There's no edged lower lip here. You might see a little divided between the two circular fat pads that make up the lower lip , and the construction, or the sort of edge of the lower lip, is defined by this cool shadow. Underneath the lower lip and with the color of the lip, you'll probably is like a warm radish brown for the upper lip. Cool the color a little bit as he moved to the back corner of the most, and then it turns into this soft, cool sort of grey green note with a lost edge that describes the muscle. Talk it like the back of the most. So that's the 3/4 mouth. And then looking at the profile most, um, so all the edges of the mouth will have soft edges except for this center line of the lips . But with the profile, you'll want to get really sharp edged right at this part here. So the upper lip cuts up at an angle straight line about a 3/4 decree angle coming up, 45 degree angle going out, and then it slopes in underneath the nose. You condone. Construct the sharper edge of the um, center crease of the most cuts up at a certain angle down. And that little suggestion of the horizontal that anchors it in softens into the muscle. Took the back curving, angled straight line going up and down on the whole upper lip, sitting in a shadowy, ready Brownie Purple e kind of tone, which gets like darker and warmer as it rounds into the center line. No definition through here with the front act of the lower lip. It's sort of overshoots from the center line of the most and then cuts down at a certain angle and then angles underneath the lip and out into the chin. And the structure of the lip is really defined by the shadow underneath the lower lip. So you really study these angles here. That's what's gonna really get you a nice looking profile, and you can see that the nose also, by the way, sits half on and half off the face, so there's a tendency to make the nose, like all the way off. But you can see how it's kind of half on and half off the face from a profile, and that takes us into the nose. Things happen out here. You can see there's more of a constructed version of the drawings in a more rendered version. So basically, let's start with this constructed version of the profile nose and you'll break the curves, as always, into angled straight lines. Sometimes this here will just be more straight, so you can kind of see what it's like on it. The person that you're painting. Sometimes you'll see the definition of the bony structure there and breaking the curves into angled straight lines. There's a really important insertion point right here. We're like the nose inserts into the skull and that occurs like right above the tear duct. So the tear duct would be like here. And you can see that the nose inserts into the skull just above the tear duct. And that should have a really strong angle change almost like a rating and go. So there's a tendency actually to, like, curve this out and make it yet it's really curved. This line will turn into the eyebrow a lot of the time, but you weren't really. There is a strong angle change there and make sure to capture that. And then you can break the planes into the front facing plane of the sort of bony ridge of the knows there's a side facing plane and and also really important on the nose is that there's this very important form shadow on the bottom plane of the nose and a lot of the time with soft lighting. It's hard to really see that, like in the nose is so grounded, so the transition happens really softly, so it could be actually hard to perceive. But I promise it's there. If the note if the light source is coming down on the model and definitely put that in. Put it in a little darker than you think. You can wiggle across the edge, get it soft, and the nostril will hide within that and avoid doing. Don't do a nostril that's like a big circle pig nose. Instead, describe the lines of the nostril as like to angled straight lines sort of pulled down in the center to create the opening of the nose and again that sits within the form shadow off the nose. And then there's a cash shadow that comes down on the face off of the nose, and a lot of the time cast shadows air cooler and form shadows. Air warmer. Always check. You can see with the lighting. If that's true, and then in the more fun like finished version of the knows, there's often going to be a highlight. Save the light source is coming this way. On the figure they'll often be a highlight running along that band in the Plains, where the side plane meets the front plane and a little speculative highlight on the ball of the nose, too. So looking at the 3/4 knows same considerations. Get that strong angle change with the nose inserts into the skull. Get the bony front plane and of the nose and that different tone for the side plane. Watch that the front plane of the nose is nice and narrow and bony and construct the curves of the nose of angled straight lines. Definitely get that form shadow on the nose, the lower plane of the nose all being slightly darker and get the nostrils to find with a nice warm color and two angled straight lines pulled down in the center and for the back nostril. The center line here is basically like this part, and then we sort of pull back and see some nostril holes showing behind it. And then there's the cast shadow that comes down off of the nose as well. And in the finished version, you'll put the I had a light that runs down the bony plane where the front plane and the side playing meat and the little speculate highlight that occurs on the ball of the nose and then front facing knows same considerations. Look for three tones for the side plane, front plane and other side plane always really get that form shadow on the lower plane of the nose and describe the nostrils with two angled straight lines instead of the big circle pick nose and get the cast shadow coming down on the faces. Well, and then this illustration here just shows how the front facing noses vertical, the 3/4 knows shows some of the angle, and the profile shows the full angle of the nose. Also, if you go from the back wing of the nose and kind of follow it up, the same angle is the nose. From a profile view, it takes you to the bottom of the eye, so there's a tendency in a profile to place the I too far forward. But following this, you'll get the I anchored in in the right spot. So this is going to really help you as we move forward next and start to construct the features in our paintings. 10. Portrait Painting: Ear handout: So let's take a look at the construction of the ear. So I'd like to start by having you follow along with these steps and just create one ear, a little ear drawing following the steps. So in step one, we kind of established the overall shape of the ear, really noticing that it's wider at the top and narrower at the bottom. And then, in Step two were starting to develop the little rim around the odor top portion of the ear , which is called the Helix, keeping it nice and narrow, keeping the width, in other words, narrow. And then, in Step three, we put the little notch this little triangular flap, which is basically where the ear anchors onto the face. Just putting that on and the next we start to extend that and extend this down. Step six, we start to put in the Contra the sort of hollowed out central area of the ear, and then, in Step six, we put in this little did it at the top. So basically this here is like a curving why, and I really find that that helps make some sense out of some of the anatomy of the ear to kind of simplify the understanding of it into the idea that this is like a curving Why also , in terms of the proportions of the here, we've got 1/3 at the top than this hollowed out central area is another 1/3 vertically. And then we've got the bottom part, the lobe as another 1/3. So in terms of the anatomy, we've got the helix, which is that rim around the outer portion of the ear. And then you've got the contra, which is that holiday out central area. We've got the anterior Nagy, which is that little flap of skin that connects basically onto the jaw, just anchoring the ear onto the face. And then you've got the lobe and the inter tragic nacho, just sort of this curving shape that connects that flat to the central hollowed part. And then we also have the anti helix, which is that curving? Why shape? So we've been looking at the profile view of the ear, and if we take a look at a slight rotation of the head into the 3/4 head, so this would be like our 3/4 of rotation view of the year. And so we've got the helix, which kind of overlaps itself kind of showing that this is more in front of this part and then keeping the with nice and narrow, especially narrower, towards the back portion of a little wider at the front as it comes towards us to show the foreshortening again. We've got that anterior notch, which is thief lap that really angers the year onto the face and then the lobe of the ear, remembering that the top of the ear is wider than the lobe and you've got the thirds in terms of the proportions and that curving Why shape that wraps itself around the concept. The holiday central part in the like whole of the ear is smaller in his inside and then, from this more front on view, where you can only see like a sliver of the ear again, you can describe the helix with the sense that the front is wider and it gets narrower as it goes back into space. Just a little sliver of that curving. Why shape get that interior notch anchored onto the jaw and the low being narrower than the top, and it looks really nice to carve out the ear with sort of angles. So it really helps, like, avoid like a big Muppet here, you know, giving it a little bit more articulation and specificity. As we get towards the back view of the ear, you can see that there's actually this flap of skin that anchors the ear onto the head, and it's actually wider at the top. And there were at the bottom. So the ear sticks out a bit more from the top than the bottom of the ear from the back view of the head. And then you can carve up the helix again, keeping it narrower in the back and having it. Wyden has. It comes towards us towards, you know, are back view of the ear. And then we've just got, like, a little sliver of an indication of that curving. Why she very subtle little sliver of the indication of the contra and the even the back. It's like we're looking at the side of the of the ear, so we're seeing like the the side playing the thickness of the ear and then just a little bit of the front plane of the lobe and at the total back view, the helix starts to kind of curve into this s sheep and we're just seeing. And it's a little thicker at the top, a little thinner at the bottom. And then we've got that flap of skin that anchors the year onto the head in terms of the proportions of the ear we've got. Basically, this is our base 1/3 measurement. So from the bottom of the chin to the bottom of the news bottom the nose, eyebrow, eyebrow to hairline that they're all three equal thirds on the face and the ear is equal tore 1/3 measurement. So if the head is just in a neutral position facing forward, no tilt down, no till up the bottom of the ears aligned at the bottom of the nose and the top of the ear is aligned with the eyebrow, and also the year sets at an angle on the face. That's the same as the angle on the job. So I hope that helps you with the construction of the ear. I think that understanding the proportions and the anatomy of the ear will really help you as you create your own. Your portrayals 11. Portrait Painting: Restating the Features: you've got, like, the color lay in and the big for modeling. And now, before we move towards, like, rendering the features, we're just gonna basically restate the lines of the features. Um, so I'm just going to use burnt umber. I mean, this is actually burnt sienna at a little bit of black, and I'm using this small bright. I like the braids cause they're like when they're in good condition, you can get like, really thin fine lines. You can do like, really small dots, or you could be, like, wider with. So it really has a lot of flexibility. And I find it actually is more precise than the little round like brushes. So I'm just going to start by and I'm resting my pinky on the painting to stabilize, And I'm just going to kind of restate the lines of the I. You can see this bright. This bright brush can get really fine, just really detailed, like very thin, precise little lines, remembering that the apex of the upper eyelid is favoring in towards the nose. We're going to go into, like, the color description in the next phase. But so I'm really just doing all one color kind of pulling down into the iris. Just a little description of the, um, lower eyelid. And then, yeah, making sure that the eyelid, you know, the eyes are aligned. So the heights are the same. This line of the upper eyelid kind of turns into the line of the last, and then I'll just pull it down to get the iris. Yeah, and the nice thing about, like, doing this, um, can someone close that door? Seems like every time doing the devil, it gets loud out there. But I think that's just my brain. Thanks. Um, yeah. And so, yeah, The nice thing about doing this, like just in one color at this stage, is that we can, like, really focus on the construction of the feature specifically before we get into all the different color differentiation. Yeah, And with this, I I need to make sure that I get that sense of the eye sitting behind the nose like the nose is like overlapping the I. So I'm kind of like getting that angle change of the nose, moving it forward, just a touch so that I can have that overlap, and then maybe the ball of the nose needs to come forward, just a touch as well. And then I'm just gonna, like, mix a little bit more red. It's still just a linear description, but I'm just gonna go ahead and make it a warmer note, as I do the two lines that describe the nostril whole and then a little suggestion for the back wing of the nostril. I can keep pushing the lips a little further forward than I have them, because the lip basically seems to almost, like connect with the side of the face. And I just haven't quite got that yet. And I'm gonna use this red tone as well as I go into, like the linear description of the year. So here's that little triangle flap thing, but is where the ear connects to the face and you can see how it's kind of in line with the jaw. And then I'll just, like, pulled back to create the kind of opening. And then I'll give a suggestion of the Helix, and then it's covered at the top by my hair. Yeah, and yeah, maybe I'll just do like the settle. This little suggestion of nostril so that basically shows how, at this stage we can just, like, restate with a linear note the placement of the features so that next, as we move into rendering them will have some guidelines for where everything goes. 12. Portrait Painting: Describing the Smaller Forms: So we've established the Big Four modeling, and now we're gonna move to describing the smaller forms that sit on that large egg shape of the head that we've established. And we're gonna hold off on rendering. The features will do that next. But for now, we're just gonna look for three planes for each of the smaller forms, like the cheek in the forehead, Um, and the knows that, like, sit on that larger form. So I'm gonna be using these two bright bristle brushes. They're kind of like a medium sized and yeah, I like the square tipped talk brushes which are called brights. Yeah, and so we're going to start with the forehead and basically we're gonna look for three planes and like three tones and three temperatures to describe each of those planes. So there's like a top facing plane, which is Mauritz lighter, and it's more saturated. It's like an orangish color. It's definitely are lightest plane. And then there's the front facing plain, and it's a little cooler than the top facing plain and a little bit darker. And then there's the side plane where it like rounds into the shadow, and it's another notch darker still and also cooler as well, more of sort of a blue, green kind of color. Eso I'm just going to kind of systematically work through each of those forms and kind of describe each of the planes that make up the form, just sort of focusing to see how they differentiate and describe that. Yeah, And so there is, like the definitely late lightest, you know, clearly latest top plane. And then, as we go into the front facing plane of the forehead again, it's like a little darker and a little cooler. I'm gonna use some of the flesh tone and maybe, like a little gray in a little blue to de saturate. And so I'll just put that in just like a nice, slightly darker, slightly cooler front plane, making sure that there's enough transition that, as I softened the edge between the two, you can still see the distinct difference in tone and in temperature between the top plane and the front plane. And then as I move into the side plane, I'm going to use a little bit of this darker greenish shadow mixture, the cadmium orange mixed with altering blue mixture. Um, and that's gonna make it darker. And let's just see if that's enough. No, we'll just add a little bit more. And as I get close to the transition between the two notes, I'm just using a little wiggle stroke, just wiggling the paintbrush in between the two to kind of soften the transition. And let's just add a little. I think I'm just gonna add a little bit more burnt Sienna, Um, as it gets closer to the hairline. And then now that I've got those three planes basically started, we can even refine them a little bit. Like, for instance, I think I could make the top plane of this forehead just a little bit lighter and brighter , maybe, especially in the part that's closest to us. I'm just going to use the back of my brush to kind of scratch to kind of soften the edge where it meets the hairline, and it even gives little slightly lining kind of texture. And then we're gonna do the same thing for the cheek. And so I'm going to start with some based flesh color, and I think I want to make it lighter and a little bit more saturated my brush just picked up a little bit of yellow, and I'll use some orange so the colors fairly saturated in vibrant. And let's try that, maybe even later. So now we want to go in for the full range, like in the last phase. We're not hitting the lightest lights or the darkest darks, but now we want to really capture the full range. Maybe maybe up here I'll even add a little bit more of the light color. So just capturing the full tonal range. And then as we round down to the front face in plain of the teak, it's a little bit redder in a little bit darker, so I'll just put that in. And then I'll like wiggle between the two notes to kind of soften at the transition. And then as we round over to the right side of the face, it gets even a little darker still and even, maybe a little bit purple. Lee. So So I'll just pick up a bit of ultra Marine blue in a little bit of a lizard in maybe some brownish stuff and again I put that in and then I kind of wiggle along the transition between the two notes. When we're times that rounds into that tone, yeah, and then with the knows, there is a front facing plane of the nose, like the thin, bony um, front plane of the nose, like the ridge of the nose. That, too, is really light and really born. It's maybe a bit more pinkish in color, as opposed to, say, the forehead, which is more like orangish yellow but definitely bright. So I'll put that through. There's also, actually, if we look at the forehead and look at the way it rounds down, like right above the nose, right between the eyebrows, it actually rounds down into a darker, cooler note, just one notch darker. So sort of to describe that rounding like rounding inwards, I'll get that plane described and that it helps give more pronounced to the place where the nose inserts into the skull, which occurs just above the tear duct. So that's where the light, bright front facing plane of the nose kind of meats, that darker plane that I just described. Yeah, I'll go a little bit brighter still, I think maybe that's too like purple e pink. Maybe I'll make it more of, ah, slightly orangey like a cad. Red cat orange, kind of a pink instead of the Eliza une yeah, and then as we look at the side plane of the nose, like already since I've brightened the front plane with knows the side plane of the nose already looks darker. But actually, I'm just going to kind of remix a similar color just so that I'm putting wet paint down beside, you know, the other paint so that I can blend the transition more easily. So I'll just kind of match that basic color just darker side plane. It will give me a chance to just kind of blend the pain, you know, blend the edges. Maybe the ball of the nose isn't quite as light as the bony ridge. I think the nostril actually itself has a little bit of a lighter front plane. So just put that in, and then you can see that there's still a bit of a line kind of stating the edge in the nose from the linear aspect where I constructed Thea under painting. So I'm just gonna bring a bit of the cheek color on top of that line so that we don't have that line because it sort of flattens out the form. And so, with the eyes, well, we're not gonna do like the rendering of the features. We're gonna do that next. But for now, we're just going to kind of construct the planes of the eye socket area, like underneath the eye, for example. So to the far left, we've got a sort of darker plane like this line here is kind of describing, like the eye socket like of the skull. And then we've got a slightly lighter plane in the center who that's too late. It's lighter, relatively, but it's still darker than this later plane that's on the top of the cheek bone. So really like looking at the tones and their relative relationships, sort of flipping your eye between different areas to see how everything relates. I'm gonna use some of that base shadow greenish mixture and a little burnt sienna, Um, maybe a bit more of the green shadow mixture. And as the I rules to the right hand side, we get this little subtle shadow on the side plane of the I looking in the eye socket. Um, I think Aiken dark in a little bit more. I think I might have not captured the full amount of contrast in this shadow. So I'm putting a little burnt sienna in there. And then at the end of where the shadow meets the light a lot of the time we get a sort of cooler, darker note. So it's like a little lighter and a little warmer in the center. Do I see that, like, right in this area? And then, as as it moves to the outer edges of the shadow, it gets a little darker and a little cooler. Do you guys see that? Yeah. And then as I squint like actually, I still feel like it could be darker, like as the form above the I like rounds into the crease at the top of the Upper Island. And like a note. Danny, when watching the video is that I'm painting the actual portrait from life. So in the photo, it actually looks higher contrast and looks darker. So I'm not quite going for the full darkness of the photo, but rather the colors that I was perceiving from life. So what you could do is basically take some inspiration from the colors that I'm painting in the video. Get the eye socket dark but not quite as dark is what the photos showing. And then there's like the muscles around the mouth. Um, we get a plane right at the corner of the mouth that's facing upwards and then the chin again, always looking for three planes and there for three tones to describe each of these smaller forms. And so we've got the top plane of the chin facing up to the light. So it's the latest. Let's get a little later, but again, it's like, comparatively so. It's like later than the stuff around it. But it's not as light as anything up here in the forehead, so it's a little darker than some of the forms at the top of the face. And then as we round to the front plane of the chin, it gets a little darker, and the chin is like a little bit warm, kind of a little pinkish, so making the front plane of the chin slightly pinkish. That might be too much, sort of, yeah, something like that. And then it rules to the left in a way that's a little darker, relatively and a little cooler. So I'm adding a little ultra marine blue, actually, right now, I think I've got it slightly too dark. So I'm gonna lighten it up a little with some of this base flesh tone. So I'm gonna make it cool and dark ish, but just slightly later than what I have now. So basically, we're still holding off on rendering. The features were like setting it up by rendering the smaller forms of the face, describing the planes of the smaller forms that sit on the larger forms and just setting everything up for the next phase where we'll start to render the features. 13. Portrait Painting: Rendering the Eyes: So now that we've got, like, the forms of the face and everything kind of set up now will finally start to go into the rendering of the futures. And I'm gonna basically use Thies to like small, bright brushes. So I'm gonna start with, like, the dark line. That's the creases of the eyes. I'm going to use some burnt sienna. Whenever I do my darkest darks, I'll make them kind of transparent soul dip into a bit of the woman Ellicott, medium and a little bit of black. And yeah, I'm just gonna basically start by, really going into that I crease above the eyelid and then the line of the lashes just one more time, really going for the leg, pure the full darkness of that color for the first time. Like this small round two and yeah, let's use some burnt sienna and black. I'm gonna use a bit of that. Green is shadow mixture as well, and I'll just draw in the iris, the circle, the outer part of the circle of the I, and then maybe like a little l at a little bit of red. The cad read into that mixture to get slightly warmer but still really dark. So there's black and brown mixed into here for the tear duct of the eye. So I'm basically starting with the darkest darks in a transparent way. And then let's shift back to the bright brush, and I'll use some of that greenish shadow mixture, some burnt sienna but more green shadow mixture. Let's see. And, um, you know, just like pull that through the iris, the colored part of the eye and kind of like blending it in but letting it be a little bit darker at the edges of the iris, cause it actually does get darker at the very edges of the the iris to circle part of the I , um, gonna makes a bit of black into that to get a little darker towards the top of the iris, so that it's getting the sense of a cast shadow coming down onto the I, and I'll shook back to my round. Now just go for pure black and get the pupil, which is meeting that cast shadow. So it's cover, you know, it's connecting to the line at the top, and next, let's go into the whites of the eyes for the whites of the eyes all use like some gray and mix it into some of this dark black brown stuff. The eyes air really set into shadow. And even if they weren't the white of the eye is never as white as we may think. It's actually like quite dark, so making it as dark as it really is. And it's a little bit later on this side, the right hand side in this lighting set up. Then it is on the left hand side. So, like to get like the circular nature of the ball of the white of the eye. You know, there's it gets darker on this side, and it's a little lighter on the right, and then it also gets like darker towards the top of the way to the I. It's a small little area, but there's a cast shadow on it, too. It's hard to get it dark enough, actually, and I'm just like wiggling that in so that kind of blends and then we see a little bit of a lighter, slightly like crystal e, like the place where the eye color kind of shows the most is Actually this is gonna be to light. Let's makes a bit more burnt. Sienna in is sort of on the bottom of the I there. And then as I render the island, we're gonna just like we did with all the other forms. Look for three planes and three tones. So we've got a later, um, slightly cool. Let's make some of that green a shadow mixture in center plane and then I that rolls to the left and to the right, it looks a little darker. I'm gonna switch to my great brush. So yeah, maybe it darkens in a warm way as it rounds to the right hand side. And maybe it darkens in a cool way. And, like black or the greenish shadow mixture relatively are like cool like compared to the warms, um, in other areas. So carving out three planes, even for the small little area of the eye, and then also this form here, like dark and dark and dark American, right into that line of the crease of the upper island. So I'm just gonna I'm kind of like work that kind of dabbing along that edge with the darkest note and then kind of softening the top edge of that so that it just rounds progressively into that? Um, yeah, And then we don't see, like the linear we don't see like lines in the eye. It sort of just becomes form. So this corner back here kind of gets lost into this rounding form of the shadow. There's really no, it just gets lost into it. So just kind of softening that together. Maybe there's ups a couple, um, little hair, subtle hair, things of the brow. Yeah, and then it gets like, a little lighter as it rounds up on this form. So the eye isn't just the I, you know. It's also the forms around the eye kind of working them, and as you really like, get into the I. You know, we kind of trainer I and we'll see more and more the subtleties of the forms surrounding the eye as well. Um, yeah. And then I think this I'll increase gets lost into the warm form in front of it. I'll just dark in that a little bit more, and then he think all dark in one more time, the brow a little bit darker. No, it's not dark enough Yeah, and the edge of this shadow and then being in, um, lower eyelid, we see a very subtle it's not too dark, but we see, like a little bit of the darkening that describes the the height of that lower lid. Um, and we see it mostly toothy outer corner of the eye. And so keeping this soft and, um, yeah, not too strong will keep it just like fitting within the forms. And, um, you know, prevent it from looking like a bag under the eye or something, just keeping it looking like a form that's surrounding the I. And then, lastly, on that, I will put with a flesh color on, and I'm using this bright brush and I'll just carefully place down Oops, a little bit more. Paint that little light room of thickness. That's the top ledge of the lower island, and I'm just like placing it. It's a little bit tricky on, um, with this great brush and yet not to white. It's like got like a fleshy color. Plus she color to it. I think that's too thin. I'm just gonna try and carefully go on it, make it a little wider and maybe also just to a very light cool, slightly later note in the center of that island, so that I was, like, mostly in shadow. Actually, lastly, we actually are getting shadow, um, patterns from the eyelashes. So maybe it's like eyelashes themselves. So I'm using this grain. Or brush the small quarter inch greener that has some longhairs in some short hairs. And just underneath that light room of sickness, we can do like a little bit of eyelash texture. It's also good for eyebrow texture. It's good for hair texture. Yeah, and then moving into the other eye again. I'll start with the darkest lines, getting some black, get some burnt Sienna and someone in Ellicott medium. Make sure like the top here aligns with the top on the other one horizontally. I need to move this one up a little bit, and then from that I'll pull down with a nice blackish color, the ellipse that's forming the iris, the colored part of the eye, and so an ellipse is a circle in perspective. So it's an oval because we're looking at it, sort of from a side view, and then I'll just pull down from the line of the lashes almost just like a little line, which is the pupil. So the pupils like connecting to the line of the lashes. It's not like floating in space, and and then I, like, deepen into the shadows a little more. The eyes air really set into shadows, this shadow behind the nose. I can just extend down a little further. There's also a little shadow that's describing the height of the lower island that wraps around. Um, actually want to go a little more with this one, too. Yeah, and then let's go a little darker into this whole back eye socket. It's almost a bit difficult to get it as dark as it needs to be like it's really, really set into the shadows. Let's go a little darker with this, too, and so there's like a warmer color in the center towards the nose for both of these in a cool color towards the outer edges and then with the lower eyelid and just gonna use kind of a flesh color to soften the edge of that, um, little shadowy lined I put in just so that it's not too strong, especially for the lower eyelid. You don't want it to look like bags under the eyes. Yeah, and we just, like, barely see the eyelid, actually. And then I'm gonna use a slightly cooler note a little bit bluer. Ah, lot of the time along the transition between, like, right where the shadow meets the lights. You get, like, a slight cooler note. So I'm just gonna soften the edges of these by wiggling in a little bit of a cooler transition. Yeah, I think a little bit back here too. Um, and then on this I the last thing is that we do see a very slight, like, really pretty dark grayish, actually, let's use the around for this. Um speculate. Highlight, Like the little dot of the Actually, it's a go. It's actually like a warmish grayish. And it's just a little highlight occurring like right on the edge of the iris. And maybe in a super dark way, I couldn't go into the white of the eye with a gray color just to make it a little clearer and then punch up that line of the upper eyelid. I laughed line one more time. So this back I is really like just barely visible in part some. I'm really, like capturing that and not putting, not over stating, um, they're putting in more detail than I actually see. So that shows you how I would do the eyes and I'll have you guys do that and then we'll go back into will describe the nose and mouth next. 14. Portrait Painting: Rendering the Nose and Mouth: We're gonna start to go into the nose and mouth next with the nose like we've already started toe carve out the plane's a little bit, but now we'll go into a little more detail, I think. First, I need to kind of describe the fact that there is a little bit of a shift in terms of there being a bony front plane and then it moving in to the ball of the nose like it kind of pulls out. This lighter tone pulls out and gets a little bit rounder, and I also could actually adjust the shape, um, of a form shadow a little bit so that it kind of comes up a little bit. So it's kind of wrapping around the ball of the nose and then and then on the under plane of the nostril. And there's a little bit of a description, just a little cooler, um, kind of at the turning plate. I just give Su. That's a little too much, just like a little bit of an extra punch to the bony side. Playing up the nose that's a little too much. I'm just tryingto soften that. Oh, let's get something later and warmer. Yeah, and then also. So I've got that nice form shadow, and I said clearly on their And when a form is rounded, the transition happens in a gradual software. So I'm just gonna carefully wiggle on the top edge of that note to soften it out sometimes will even use the back of my brush and just scratch on it, kind of like cross hatching to soften it out. So arounds gradually into their um, there's also the speculum highlight. Like the nose is a little shiny. Er, um, you know, than some of the other parts of the face. So we've got, like, just a little speculative highlight running down the edge of the side plane of the knows where the nose turns from the front to the side plane, and then we've got that little dot shiny nous on the nose. Now that I've got that lightest note in, I think I can actually kind of Segway between it and the side, playing just a little more gradually. Yeah, and getting like, uh, clear tonal change right at that place where the nose inserts into the skull, then for the nostrils. It's nice of the nostrils are, like, kind of warm. So I'm gonna use some rid and some black. And for anything that's, like, really dark, I always use a little extra oil just to keep it like transparent. Um, it just looks better. So make the nostril with two angled straight lines, not a big circle pig nose and then just kind and so noticed. Like I think the maybe one of the most common mistakes is to have the nostril meet the lights. But the nostril, like the whole of the nose, is hidden within the foreshadow of the no. So above that line of the nostril, there is a form shadow above it. Yeah, and then the nose like anchors onto the face. It looks like with a kind of Kulish Kulish note. And then we start the cast shadow being cast onto the nose. And there's, like, a little definition off the little muscle. A little indentation right above the lips. It gets really dark, like in the form shadow around the nostril. It almost gets, like, hidden in there. So really capturing that sort of non CIA bill nous of it. I'm gonna keep the cash shadow kind of soft. Let's go one more time into the speculum. Highlight, um, and then into the lips. So the lips, the way I like to start the lips, is clean off your brush and get like a blackie red with some walnut Ellicott medium so really dark, pretty, rich and just start by going into the line between the lips. And so this is like a nice, exciting punch of color, like it's pretty red. It's really dark, and it's pretty sharp, and it's pretty contrast E as that line moves towards the back corner shift toe a little bit more of a greenish bluish kind of color, and it just gets lost into a little muscle tuck at the side of the most. And then, as the upper liberals upwards, it's turning to face the light more so at the very top of the corner of the upper lip. I can actually introduce a slightly lighter note right here. We're also getting some reflected light coming in and creating a slightly later. I don't know. It's like reflected light, like kind of right in here and with the upper lip. I'm gonna use my little round brush and, like we got the shape put in, and now I want to just very softly wiggle kind of tediously all across that whole edge so that it's really soft. But it's a small like a small wiggle, so you can still feel the positioning. You know, you still have kind of the concrete shape of the lip. It just so happens that it's happening in a really soft edged way, where it's hard to tell exactly like where the face ends and where the lips start. So I would say that's another. Most common mistake is to have the upper lip or any of the lip edges be to shirt. Let's bring this one in a little darker. Um, there's kind of like a a plane change right in the center, great here that goes from lighter to darker. And then, once I got in and all this, like once again, wiggle on that upper lip and to make it a softer note did I see how it feels kind of cut out like at first. But then, when you just carefully, it's tedious, but wiggle on it and find some way to make it breed, you know, and softer, like bleeding into the skin tone. It just then fits into the face and feels like a form instead of sort of just a line instead of like a cutout shape of a lip. Um, with the lower lip, we haven't really gotten into it yet, but in fact there's a cash shadow on the lower lip. So a lot of the lower lip is actually in shadow as well. And there's just like a little bit of the right hand side of the lower lip coming into lights. You can kind of see the like. The lip is made up of two circular fat pads, and you see a little sense of that divot kind of cutting through right there. And then let's give the lower lip like a little bit more punch, a little bit more form by darkening a little darker into that shadow that's underneath the lower lip. And then you, like the most, is really ah lot to do with the chin and the the shadows, like surrounding it. So this shadow is particularly beautiful, but, um, to keep it like really soft, really subtle, but to kind of go for it a little bit as well And so this shape, its form is like this. So we're just gonna kind of suggest that, um, very subtly making sure that this doesn't pull too far over to the right because that will change the expression. Yeah, And then I'm just gonna cut a wiggle and soften, maybe scratched with back my brush. Let this merge into the lighter tone. Um, and maybe I'll put a little bit of a darker tone back here. Darker cooler. It gets lost. Pretty lost. Back here, you can't tell exactly where one thing ends and another start. So that shows you how you could start to, like, describe the nose and mouth, looking for soft edges and then also having certain edges be like, sharper and warmer and kind of have that, like visual punch. 15. Portrait Painting: Finishing Touches: as we go in for the finishing details. We want to really look at edge quality, and I'm going to start by going into a bit of the details in the neck collarbone area just to sort of set it up. We've got, like the plane change or its darker on the vertical plane of the net compared to the plane starting at the collarbone that comes out towards us a little bit more. There's also actually a little bit of a, um, articulation to the shape of the shadow that's on like the cast shadow coming down onto the neck. That actually suggests the musculature like this is the cast shadow rolling over the sternum asteroid muscle, which is connecting to the clavicle and going up behind the year. So there's just a certain shape created, and then it actually is cutting across the clavicles and then heading up. So some of the angle changes, like in that cast shadow, are kind of suggesting the anatomy and inside the neck itself, there's just like some subtle, reflected light. That's kind of suggesting the structure as well. So keeping that really understated, just like super soft, super light. I see a little bit of a warm, reflected light coming in, you know, on the left town side. And then as the form turns to the right, I like this cooler color that we've got on the front plane and then as it turns to the left , Um, actually, what I'm seeing is there's like almost a I don't know, almost like a secondary cast shadow or just like a darker, slightly slightly darker color tone, describing the jaw and kind of casting onto that that neck and then softening in that color feel slightly to purple. I'm gonna mix a little bit of brown into that, just to neutralize it a little, maybe right in front of it on the actual jaw. It could be slightly lighter and slightly cooler. That's a bit too much. And then the neck gets darker as it rolls into the hair. There's maybe even a little calf shadow coming down right under right here. Yeah, and then the shirt. Maybe just to give it a little bit of something, you know, everything else is so rendered, we could have the shirt role to a slightly lighter color at the top and maybe just give like a teeny bit of description of the way that the sleeve of the shirt is like kind of opening up onto the shoulder. And then on top of that, we can do the hair. So with the hair, I'm gonna use this Graner brush, and I'll use a lot of oil so that it flows fluidly. And so it doesn't go on like dry brush E Right now, my hair is actually dry, so I'm gonna be able to like, glaze into it. So I'm using a lot of medium. It's gonna start dripping down my palate, um, so that it's a little transparent, but I just want to darken, get a little bit more doing airplanes, strokes so that it picks up the texture of the brush and then on the body itself, creating like right now you can tell that I did these strokes and then I kind of painted over them. So I want to just make sure that the paint is sitting on top of the strokes of the hair so that obviously early the shirt so but obviously like the hair is on top of the shirt in terms of the edge quality, I think I could do, like, a little bit of hair, you know, coming forward here. Yeah. Now I'm doing it with airplane strokes. I'm lifting, as I like pull so that it tapers at the end and just looks kind of pleasing. Yeah. So that shows how I would basically, like, finish the painting. Um, I already have soft edges on this part of the hair, but take a good look to make sure your edges are like soft and hair like where overlaps the yellow as well. And, yeah, use your brush in such a way that you're creating hair like strokes with the use of the brush. So I hope you've enjoyed learning how you can start with an under painting and then take it in through color. Lay in describing the light side and shadow side, get the big for modeling and then describe the planes of the features and finally end with finishing touches like inch quality