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Shelley

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00:00:08

good morning everyone happy Wednesday

00:00:10

I'm back yes I am feeling better uh just

00:00:14

occasionally I'm coughing once in a

00:00:16

while but uh feeling pretty good so I

00:00:19

see that some of you are playing around

00:00:21

with some of my past demos that I've

00:00:23

been doing lately and

00:00:26

I hope you post them on social media I'd

00:00:28

love to see them so uh be sure and do

00:00:31

that and you can always tag me and then

00:00:33

then I'm sure to see it so uh be sure

00:00:36

and do that so last week we did hair we

00:00:39

did this blonde hair and

00:00:42

everybody said I hope you finished that

00:00:44

portrait so so here we are today and I

00:00:47

am going to work on the um facial

00:00:50

features

00:00:51

so let's just jump on in here

00:00:54

and

00:00:56

we will take a look at my screen's

00:00:59

Frozen one second

00:01:03

one second I just got to get this uh

00:01:15

Oh wrong one hang on it helps if I pick

00:01:18

the right camera all right

00:01:22

there we go all right so uh we did this

00:01:26

hair last week unfortunately my paper

00:01:28

had some sort of a flaw in it and um I I

00:01:31

got this really weird Mark here so you

00:01:32

kind of have to ignore that uh but this

00:01:35

was the hair that I did last week

00:01:37

so

00:01:39

um

00:01:40

now what I want to do is start off with

00:01:44

the face so let's let's take a look here

00:01:47

uh this is my daughter in case you

00:01:49

missed last week's demo and uh you know

00:01:53

I picked I chose this picture because

00:01:54

the way she had her hair and it had lots

00:01:57

of light and and Shadow in it and she

00:02:00

has a lot of light on her face with

00:02:02

really only a little bit of Shadow from

00:02:05

her hair on her face and you see a

00:02:08

little bit of Shadow like in the cheek

00:02:10

area

00:02:11

and uh you know in the eye sockets and

00:02:14

things like that but let's look at some

00:02:16

of the overall skin tone first of all

00:02:19

one of the things that I see a lot when

00:02:21

people are painting skin tones is that

00:02:24

they mix up a color and they put it on

00:02:27

far too heavy it needs to be very very

00:02:29

light so what I'm going to start off

00:02:31

with is where I see the lightest

00:02:33

highlight in the skin tones so that

00:02:36

means watering down my paint quite a bit

00:02:38

but first of all let's take a look at

00:02:40

what

00:02:42

colors I might mix for this so

00:02:45

one of my kind of go-to combinations and

00:02:49

I I don't use this for every skin tone

00:02:50

of course because you know if you've got

00:02:52

somebody with very dark complexion or

00:02:56

Olive complexion or something like I I

00:02:59

might use a different combination so

00:03:00

please don't take this as here's the

00:03:02

formula for skin tone because it's not

00:03:05

but overall

00:03:08

I'm looking at a gold tone mixed with a

00:03:11

pink Tone If I put those two together I

00:03:14

will get something nice and peachy quite

00:03:16

natural looking

00:03:17

so I'm going to use

00:03:20

raw Sienna which is a color I used in

00:03:22

the hair

00:03:25

and I'm going to use a little bit of

00:03:30

I can either use permanent alizarin

00:03:32

Crimson or I can use permanent Rose

00:03:34

I think today I'll use uh

00:03:39

I'll use permanent Rose

00:03:43

all right so if I put these together you

00:03:45

can see on my palette I've put them side

00:03:47

by side now I'm going to mix them

00:03:48

together and this is going to turn into

00:03:50

a little bit of a peachy pink

00:03:54

so I'm going to thin this down because

00:03:56

this is going to be my first wash

00:03:59

when I really want to have nice smooth

00:04:01

skin tones I will build this up probably

00:04:04

in several layers in order to build up

00:04:07

my skin tones uh to what I want and I

00:04:10

will let this dry in between so

00:04:13

I'm going to water this down

00:04:16

and I'm going to wet my area before I

00:04:18

actually paint on it

00:04:19

very often

00:04:21

uh very often I will paint through the

00:04:25

eye but you can see in this instance her

00:04:27

eye the white of her eye is very cool

00:04:30

looking uh it's it's a cooler tone than

00:04:34

her skin tone but very often especially

00:04:36

with somebody who's older you may have I

00:04:40

will just go right through the eye and

00:04:41

everything so this is not the formula

00:04:45

for painting all portraits every

00:04:48

portrait you have to uh

00:04:51

look at it individually and see what

00:04:53

that particular portrait needs but

00:04:56

generally speaking I'm starting with the

00:04:58

lightest skin tone regardless of the

00:05:00

skin tone so I'm starting light working

00:05:03

to dark

00:05:04

I'm going to wet this area now

00:05:07

so I'm not going to wet the eye because

00:05:09

it's a different

00:05:11

um

00:05:12

temperature it's a different it's a cool

00:05:14

tone rather than a warm tone but for

00:05:18

this light color I think I will go

00:05:19

through her teeth

00:05:21

I know this sounds weird right but it's

00:05:23

very light

00:05:27

I'm going to go right up to the hair

00:05:28

there and go around her eye

00:05:52

there we go and I'm going to spread this

00:05:54

around as evenly as I can I was going to

00:05:58

wet it but there was so much paint in my

00:05:59

brush it ended up just being painted

00:06:02

instead of just wet first and paint

00:06:04

added but I I would suggest to you if

00:06:08

you're doing a portrait don't don't

00:06:10

start learning portraits and do

00:06:13

something really really tiny it's really

00:06:15

hard to get the details and the blending

00:06:17

in such a small space so if you work

00:06:19

larger for a portrait you'll find it at

00:06:22

actually easier

00:06:24

so I'm going to just spread this around

00:06:28

all right now I'm not using any masking

00:06:30

I just painted around her eye

00:06:33

I'm not going to let this dry yet though

00:06:35

so I'm going to go to a little bit

00:06:36

smaller brush

00:06:38

um I should actually back up here and

00:06:40

just mention that the paper I'm working

00:06:42

on is Arches 140 pound cold pressed

00:06:45

paper and I have pre-stretched it

00:06:49

and I uh so I soaked the paper for three

00:06:54

minutes in my sink just room temperature

00:06:56

water and then I quickly stapled it down

00:06:59

and I left it overnight and then in the

00:07:01

morning I taped it down so that's what I

00:07:04

do to stretch my paper and the reason I

00:07:06

do that is just so that when I'm

00:07:07

finished my painting it's completely

00:07:09

flat it will be tight as a drum because

00:07:12

being caught in paper it shrinks and it

00:07:15

will it will just be really tight

00:07:17

when it dries so

00:07:19

I will I'm going to wipe the

00:07:23

tape off here

00:07:25

I actually did try to fix that but I

00:07:28

just kind of made more of a mess of it

00:07:29

but no matter we will just press on with

00:07:32

this demo so

00:07:36

I will now I can see that the paper's

00:07:38

starting to wrinkle and guess what it's

00:07:40

wherever it's wrinkled and and dipping

00:07:43

down so you have a valley the paint

00:07:45

wants to settle there so there's a

00:07:48

couple of things I can do but the

00:07:49

easiest thing I find to do is just to

00:07:51

take a piece of paper towel and just

00:07:53

touch the the tip of it into those

00:07:56

puddles and Wick up

00:07:59

the extra

00:08:01

paint in those areas

00:08:03

right so you can hopefully see that I've

00:08:06

Wicked up some of that color let me zoom

00:08:08

in a little bit here

00:08:11

all right then we'll be able to see

00:08:13

these features a little bit better

00:08:17

and here there's you know a little I can

00:08:19

see the paper's wrinkling because it's

00:08:20

getting wet

00:08:22

I just talked about stretching it

00:08:24

doesn't keep it from wrinkling while

00:08:26

you're working on it but what it does do

00:08:27

is it makes sure that when it's dry it's

00:08:29

going to be really tight as a drum and

00:08:32

flat

00:08:33

so I'm just touching the corner and this

00:08:36

is pretty saturated now so I'll get a

00:08:38

new corner and just touch it into those

00:08:40

spots gently and that just pulls up that

00:08:43

I'm not blotting I want to make that

00:08:45

clear I'm not blotting I'm just touching

00:08:47

and it's wicking up that color

00:08:53

wicking up that extra moisture

00:08:55

all right so while this is in here

00:08:57

I'm going to go to a slightly smaller

00:09:00

brush

00:09:03

I'm using a squirrel hair brush here

00:09:06

this one's um well this one says a six

00:09:09

but just to show you the size next to my

00:09:11

baby finger

00:09:13

it's about that big and I'm going to

00:09:16

come in with a little bit of

00:09:19

I believe I used permanent alizarin

00:09:21

crimson

00:09:23

and neutral tint for some of this Shadow

00:09:26

up in here

00:09:27

I believe that's what I used but I can't

00:09:29

remember since last week I should have

00:09:31

looked at that video again

00:09:33

but that will give me kind of a really

00:09:36

dark

00:09:37

Burgundy a little bit duller

00:09:43

but I don't want the paint on my palette

00:09:45

to be too watery that's going to be

00:09:48

important because I'll I won't have any

00:09:49

control if I put it on a nice wet

00:09:52

surface and I've got really watery paint

00:09:54

it just goes wherever it wants to go if

00:09:57

I want to keep it where I want it I want

00:09:59

to put it I need to make sure my brush

00:10:01

is much drier

00:10:06

yeah every once in a while there

00:10:08

apparently I heard you know I don't even

00:10:11

this is hearsay but um I heard that they

00:10:14

were switching over where they get their

00:10:16

sizing from or their sizing process or

00:10:19

something along those lines and that

00:10:21

there was a couple of batches that went

00:10:24

out that didn't have uh you know that

00:10:26

had a few flaws in them and stuff so

00:10:29

hopefully that's resolved by now but uh

00:10:31

I do like arches so I hope uh I hope

00:10:34

that gets

00:10:35

um sorted out I'm going to use a

00:10:40

this is permanent alizarin crimson and

00:10:43

neutral tint

00:10:45

that I'm combining here and I'm going to

00:10:49

come in and right along her higher line

00:10:51

here I'm just going to get this a little

00:10:53

bit darker

00:10:55

it's giving me a kind of a dark reddish

00:10:58

color

00:10:59

and I'm blotting my brush just softening

00:11:03

this a bit

00:11:07

getting that a little bit darker and

00:11:08

blending that into her into the skin

00:11:11

tone which I've just applied now I'm

00:11:13

going to get some more of this peachy

00:11:16

color and start overlapping that so that

00:11:18

I have a little bit more of a transition

00:11:21

I don't have any masking on the hair so

00:11:24

I'll just paint around those

00:11:27

let's combine this a little bit

00:11:30

trying to make a transition so I'm

00:11:32

combining the two

00:11:35

to get some nice softness and I I'm

00:11:38

going to go into this area I want to go

00:11:41

a little bit more peachy here I think

00:11:44

so I'll mix a little bit more of my

00:11:45

peachy color but not as watery as I did

00:11:48

first at first

00:11:51

so not as watery because I want a little

00:11:53

control in fact I'm going to blot my

00:11:54

brush

00:11:59

foreign just want to make sure I'm not

00:12:02

um missing any questions

00:12:10

okay I don't

00:12:13

think so just a lot of greetings and we

00:12:15

have people from all over thank you very

00:12:17

much

00:12:19

yeah every once in a while you know

00:12:21

these paint companies they or the paper

00:12:25

manufacturers they

00:12:27

you know I guess probably cutting costs

00:12:29

or maybe supplies or who knows what the

00:12:31

reasons are but

00:12:33

um the every once in a while something

00:12:35

changes and it's like oh no

00:12:38

don't change my favorite thing

00:12:41

so you can see I'm starting to build up

00:12:43

where there are shadows and I'm going to

00:12:46

come in where her brow line is so where

00:12:49

her eyebrow is that's where the the

00:12:54

plane of the face the planes of the face

00:12:56

start to

00:12:58

um

00:12:59

uh angle inwards so we're creating a

00:13:02

little bit more Shadow there

00:13:04

and this comes pretty pretty close to

00:13:06

the corner of her eye here

00:13:09

and all of this area in here is going to

00:13:12

get a little bit darker in the eye

00:13:13

socket area

00:13:15

so there's a little hint of a a lower

00:13:19

lid here

00:13:22

she doesn't have much she's young so she

00:13:25

has this nice uh

00:13:27

gentle

00:13:28

she doesn't have wrinkles yet

00:13:31

but um

00:13:34

and she has you know you just see the

00:13:36

hint of her other eye here and down the

00:13:39

bridge of her nose

00:13:43

and like I said I would probably do this

00:13:46

in many layers but because we are you

00:13:49

know doing a live demo it's not a long

00:13:51

one I will try to do it in fewer steps

00:13:54

but keep in mind if I'm going to put the

00:13:56

spit and polish into this that I would

00:13:58

normally do if I were doing a portrait

00:13:59

commission or something like that I

00:14:01

would probably spend more time doing

00:14:04

more layers

00:14:06

to build this up more gradually

00:14:10

but under the chin it's I can start it

00:14:14

to I can start to feel it getting a

00:14:15

little bit dry see I just put that paint

00:14:17

down there and it made a hard Edge so

00:14:20

guess what that's telling me I have to

00:14:23

stop

00:14:24

I don't want to stop I have to I you

00:14:26

know I have more to do so I don't want

00:14:28

to stop but the paper says I have to

00:14:33

so I'm softening an edge just to make

00:14:35

sure that it doesn't dry with a hard

00:14:37

line oops that one's going to be a

00:14:40

little bit hard Maybe

00:14:42

and I'm going to dry this so

00:14:47

take my dryer and I'm going to dry this

00:14:49

layer make sure it gets locked into the

00:14:51

paper

00:14:52

and once I'm confident that you know

00:14:56

this paint that I've put down isn't

00:14:58

going to move around

00:15:00

I can come back in re-wet and continue

00:15:05

it's that knowing when to stop

00:15:08

even though you really really really

00:15:10

don't want to it's that's a hard thing

00:15:13

to re you know ream your back

00:15:16

rain yourself back in

00:15:20

that was a combination between real and

00:15:22

ring

00:15:30

oh you're welcome Laura

00:15:32

yeah I had several emails and messages

00:15:36

and uh comments and things please finish

00:15:40

the photo please finish the portrait so

00:15:42

here we go

00:15:50

all right

00:15:54

I have no masking fluid on here so I can

00:15:58

you know really get this dried

00:16:01

without concern of baking on masking

00:16:03

fluid but I do have to wait for this to

00:16:06

come back to room temperature if I if I

00:16:08

paint on it right now it just evaporates

00:16:11

what I'm trying to put on so

00:16:13

just going to let that get back to room

00:16:15

temperature I had a little Fleck on

00:16:17

there it was driving me crazy and but I

00:16:19

just left it and I waited till it was

00:16:21

dry

00:16:23

so if you recall last week when we were

00:16:26

doing the hair I made a real point of

00:16:30

keep it soft keep it soft keep it soft I

00:16:33

was like a broken record and the same

00:16:35

thing is going to apply for her eyebrows

00:16:38

so when we do her eyebrow area here I

00:16:41

don't want to put

00:16:43

individual hairs on light colored skin

00:16:48

especially if it's darker darker color

00:16:50

on lighter color so it just looks too

00:16:55

too stiff too contrived and and

00:16:58

unnatural

00:17:02

oh you're welcome all right so I'm going

00:17:06

to go back once again I'm going to

00:17:09

re-wet it's back it's cool enough now I

00:17:12

can re-wet this

00:17:18

the thing that always messes up or makes

00:17:20

portraits look muddy is that working

00:17:23

back in working back in when things are

00:17:25

trying to dry the paper is trying to dry

00:17:27

and you're forcing it and when you force

00:17:31

it things get ugly

00:17:33

they get muddy colors you know your warm

00:17:36

colors your cool colors start mixing

00:17:38

together uh and it starts lifting off

00:17:41

the first layer and just bad stuff

00:17:43

happens so

00:17:44

be patient with portraits if you want

00:17:47

them to look nice and smooth

00:17:49

this is not the only way to paint a

00:17:51

portrait there's lots of great ways to

00:17:53

paint portraits I have seen uh some

00:17:57

fantastic portraits where they haven't

00:17:59

wet the paper they just put on really

00:18:01

watery paint and put lots of layers on

00:18:03

and lots of lines all over the face and

00:18:05

it doesn't matter it still looks amazing

00:18:07

and the key here is just build up those

00:18:11

values correctly

00:18:12

if you're making a shape that that

00:18:16

rounds like so a cheek for example it

00:18:20

it goes around the cheek and then it

00:18:23

goes up the nose and so on but there's

00:18:25

no angles so there's no hard lines

00:18:28

and um

00:18:30

so

00:18:31

if you even if you aren't wetting your

00:18:33

paper first the key here is just make

00:18:36

them gradual gradual in increments so

00:18:39

that you're not jumping all of a sudden

00:18:40

to a sudden dark

00:18:42

and that you have you know transitions

00:18:46

between highlight and Shadow

00:18:51

so

00:18:53

I'm just going to redistribute this

00:18:55

water I want to make sure it's on here

00:18:57

evenly

00:19:02

hard to go around those little hairs now

00:19:04

that I took the masking fluid off I

00:19:06

could actually have taken the time to

00:19:08

put more masking on them but I won't

00:19:11

worry about that

00:19:13

or I it actually if I had known last

00:19:16

week when I was doing the hair I would

00:19:18

have left the masking on there but

00:19:20

I didn't know at that time that I would

00:19:22

be doing this this week so I probably

00:19:25

would have just left it on while I did

00:19:27

the face

00:19:28

all right so redistributing this water

00:19:31

so that I have

00:19:35

uniform application of water if I if I

00:19:38

have puddles and I go to paint into that

00:19:40

it I'll have no control it's just going

00:19:42

to be too wet things will go out of

00:19:45

control

00:19:46

uh so

00:19:49

I'm waiting for this to just soak into

00:19:53

the paper slightly

00:19:55

make sure there's no puddles

00:19:59

spread that around just make sure

00:20:01

there's no puddles

00:20:03

I don't have to wake it up this time it

00:20:05

seems I don't have any puddles I didn't

00:20:07

get it quite as wet

00:20:09

and now back to my smaller brush

00:20:12

my smaller brush same tone just less

00:20:15

water but there will be occasionally

00:20:19

some changes in skin tone it's not maybe

00:20:23

as obvious in this particular portrait

00:20:25

but very often you will see kind of a

00:20:29

a greenish color in the skin tones and

00:20:33

basically what that is is the you know

00:20:38

when the blood vessels and things that

00:20:39

come closer to the to the surface like

00:20:41

if you look at the back of your hand and

00:20:43

you see a vein you can see it's kind of

00:20:45

a greenish color or bluish color and so

00:20:48

you will get a little bit of that in

00:20:50

occasional places you know where the

00:20:51

blood vessels are closer to the surface

00:20:53

but

00:20:55

um

00:20:56

it also will cool down some of your

00:21:00

shadows so

00:21:02

I don't see a lot of that in this

00:21:04

particular reference I'm looking on my

00:21:07

screen as opposed to my because I see no

00:21:10

green in this uh this printout but on

00:21:13

screen I see ever so slightly a little

00:21:16

bit of of a greenish color in like under

00:21:20

her eye so with the with the tiniest

00:21:24

Whisper of color green color I'm gonna

00:21:27

use uh raw Sienna and maybe I'll use

00:21:32

some Cerulean blue here

00:21:34

right so I get a little bit of a

00:21:36

greenish color it's not much and

00:21:39

super watery

00:21:42

just a hint of this under her eye here

00:21:47

hardly noticeable

00:21:49

it's not much at all

00:21:51

pretty yellowy actually yellowy green

00:21:54

but

00:21:57

a little under her nose perhaps so I

00:22:00

know that sounds a little weird but it's

00:22:02

so that there's a little bit of a change

00:22:04

not only of value but a little bit of a

00:22:07

change of temperature so we have warm

00:22:09

and cool

00:22:16

um I'm just reading

00:22:22

oh okay

00:22:24

um

00:22:27

just looking at some

00:22:29

um pax's Mom has uh posted something

00:22:32

that she found online

00:22:34

and

00:22:37

yeah otherwise we've got lots of

00:22:38

greetings

00:22:39

um

00:22:45

and I think I don't think I've missed

00:22:47

any uh questions oh the the oh yes thank

00:22:51

you melody you answered that question

00:22:52

about the the watery watch Raw Sienna

00:22:55

permanent Rose uh so I'm going back to

00:22:57

my rosiana permanent Rose

00:23:03

and maybe a little bit more permanent

00:23:06

Rose

00:23:07

in there and I'm going to start

00:23:09

darkening up some of these Shadows

00:23:14

a little more permanent Rose I think

00:23:23

I might have talked a little while there

00:23:25

so it's might be starting to dry

00:23:27

slightly but I'll have to work quick

00:23:30

so we have a crease in her eyelid

00:23:36

by the way when I'm doing a portrait

00:23:39

I am frequently

00:23:42

um

00:23:43

I most often I should say most often I

00:23:47

am

00:23:49

uh starting with the skin tones because

00:23:52

that's the wettest part that I'm going

00:23:54

to do on the face so I won't even do the

00:23:56

eye until I've got all the skin tone

00:23:58

around the eye done because I know that

00:24:00

the lashes and things like that are

00:24:02

typically most of the time are going to

00:24:04

be darker than the skin upon which

00:24:08

they're in front of

00:24:11

so

00:24:12

I need to do that now the nostril is not

00:24:15

a black hole it's just a darker pink

00:24:19

version here

00:24:21

so just I'm doing that on wet so that it

00:24:24

doesn't become a very stiff harsh

00:24:27

looking

00:24:29

um

00:24:31

hole in her head

00:24:33

you know that wouldn't be right

00:24:36

and I never did get down to finish the

00:24:39

the area under the chin so I'm going to

00:24:41

do that now I'm feeling though that my

00:24:43

paper is really starting to dry

00:24:46

I'm going to dampen

00:24:49

this area where I want to work I'm going

00:24:51

to dampen it

00:25:04

and

00:25:06

I want to get that that like indent

00:25:09

there before her chin

00:25:11

and it's a little bit more

00:25:15

a little bit more golden so I'm altering

00:25:19

the the ratio of raw Sienna or permanent

00:25:22

Rose

00:25:24

as I see it in the photo I'm not trying

00:25:26

to make everything sort of here's the

00:25:28

color and this is where you put it

00:25:30

everywhere uh no I Am shifting back and

00:25:33

forth from a little bit more gold to a

00:25:35

little bit more pink like cheeks for

00:25:36

example are usually more pink

00:25:39

um your nose is a little bit more pink

00:25:41

and that sort of thing but on her neck

00:25:43

here it looks like it's probably picking

00:25:45

up some of her hair colors it's got a

00:25:47

little bit of a different tone probably

00:25:49

doesn't hasn't been exposed to as much

00:25:52

sun over the years or anything too so

00:25:55

let's let's get a little bit more of a

00:25:58

golden Peach

00:26:01

color in here

00:26:09

now if I want her shirt or her neck to

00:26:12

look like it's really tucked inside of

00:26:14

her shirt or her scarf here

00:26:16

I'm not sure which it is but uh if I

00:26:19

really want that to look like it's

00:26:21

tucked inside I'm gonna have to come in

00:26:23

with something quite dark let me move

00:26:25

this up a little bit I'm gonna have to

00:26:27

come in with something quite dark down

00:26:29

here where it sort of disappears

00:26:32

underneath that scarf so I'm going to

00:26:34

come back to this Shadow color I used at

00:26:36

the top

00:26:37

uh permanent alizarin Crimson mixed with

00:26:40

a bit of neutral tint

00:26:43

and I will put that in

00:26:46

um there's a couple of colors that work

00:26:48

really well for

00:26:50

for typical Caucasian portraits and that

00:26:55

would be

00:26:56

um like for some of the Shadows there's

00:26:58

a color that I've I've used and it's um

00:27:01

I believe it's a Winsor Newton color

00:27:04

called

00:27:06

oh what's it called it's called a

00:27:08

perylene maroon and it's a gorgeous

00:27:11

color and that work seems to work pretty

00:27:14

well I find for for many of the

00:27:16

portraits that I do I don't happen to

00:27:17

have that on my palette right now but

00:27:19

but that is one that I'll pull out once

00:27:22

in a while because I really like how it

00:27:24

looks but um

00:27:26

I want to get this looking like it

00:27:28

disappears but I don't want it too harsh

00:27:31

so I'm doing this while the paint while

00:27:34

the paper is wet

00:27:37

and I'm getting extra dark right at that

00:27:39

edge right where it disappears

00:27:43

right to really make that tuck in there

00:27:45

much like what we did under the hair up

00:27:47

here right where we really wanted to

00:27:49

make that look like the hair was coming

00:27:51

forward so what we're doing is we're

00:27:53

it's like we're carving we're carving

00:27:55

out all these Shadows to make the

00:27:58

Contours of the face

00:28:02

now like I said I often do many layers

00:28:05

so I'm going to dry this once again

00:28:11

and I won't do any of my facial features

00:28:13

until

00:28:15

like the eyes and so on until I have all

00:28:19

these skin tones done so this is what's

00:28:21

probably going to take the most time and

00:28:23

probably good that we're only doing half

00:28:25

of the face

00:28:26

a whole face would actually take longer

00:28:28

but half of a face you can imagine that

00:28:31

other half is pretty similar

00:28:42

Jan's art says the perylene maroon

00:28:48

yes I'm sure that's the name of it the

00:28:50

perylene maroon mixed with phthalo green

00:28:52

makes a rich black

00:28:53

see if you can find all common all kinds

00:28:56

of combinations to make blacks or

00:28:58

oranges or Reds or purples whatever you

00:29:01

want you you know there's more than one

00:29:03

way

00:29:09

all right let's allow that to cool down

00:29:12

just a little bit here and um

00:29:18

good morning rishika

00:29:25

all over the place

00:29:27

that's through Massachusetts Colorado

00:29:32

have to scroll up there's so many here

00:29:35

um

00:29:39

scroll right up to the top here we got

00:29:40

we got everywhere

00:29:42

Pennsylvania

00:29:44

we've got Iceland

00:29:48

that's on my bucket list coming to

00:29:50

Iceland I I would think that would be

00:29:52

really nice

00:29:53

um

00:29:54

Holden Hills kind of a local area uh

00:29:59

Toledo Ohio we've got

00:30:01

um

00:30:02

Arlington Virginia

00:30:05

Kingston Ontario Washington

00:30:09

Toronto Elliott City Maryland Manitoba

00:30:13

Toronto

00:30:18

CZ I'm trying to think what that is

00:30:21

somebody tell me how it has to tell me

00:30:23

Joanna you have to tell me where that is

00:30:26

um Czechoslovakia I'm guessing

00:30:29

um

00:30:32

downington Pennsylvania uh we got New

00:30:35

Hampshire

00:30:37

we got Langley BC Boston Massachusetts

00:30:44

Northern California Newfoundland

00:30:47

brighten Scotland

00:30:50

Sweden Finland

00:30:53

oh you know I absolutely love seeing

00:30:55

this Naples Florida Texas uh

00:30:59

Missouri oh my gosh every all over the

00:31:02

place

00:31:05

I'm trying to I'm also trying to skim

00:31:07

the the comments just to make sure I

00:31:08

haven't missed any important questions I

00:31:11

don't wanna I don't like to leave you

00:31:12

hanging

00:31:19

art Edge I I don't know that one

00:31:22

Melbourne or Australia boy I got must I

00:31:25

don't know what time it would be there

00:31:26

right now

00:31:27

probably uh

00:31:29

late in the day

00:31:32

India awesome

00:31:34

Okay so

00:31:36

Northern Ontario yeah I love I love

00:31:38

seeing everywhere all over the place

00:31:40

that's that's exciting for me so this is

00:31:43

cool down I'm going to re-wet one more

00:31:46

time and then here's something that you

00:31:49

need to know is that I'm working on a

00:31:52

hundred percent cotton paper

00:31:54

I think that that's almost

00:31:57

a

00:31:59

mandatory kind of surface to paint on

00:32:01

with you know if you're trying to do

00:32:03

this type of a portrait you know where

00:32:05

where the skin tones are all smooth and

00:32:06

everything I think you need to be

00:32:08

working on 100 cotton paper

00:32:10

and here's why

00:32:12

if your paper is not 100 cotton maybe

00:32:15

it's got some wood pulp uh content maybe

00:32:19

some other fillers in there it's not

00:32:22

going to be as absorbent so if it's not

00:32:25

as absorbent those first layers

00:32:27

sit on top and then when you go to put

00:32:30

another wash on or you start to

00:32:33

um

00:32:36

you start to build up layers and you

00:32:39

just pull the first lit ones off because

00:32:40

they're never really bonded into the

00:32:42

paper because they're they're more

00:32:44

sitting on top than they are underneath

00:32:46

2 am oh my gosh now that is I'm honored

00:32:50

that you would come at 2AM to watch me

00:32:53

paint

00:32:54

thank you

00:32:56

um I guess that's why we don't get more

00:32:58

people from Australia when I do my demos

00:33:00

right but uh

00:33:02

thank goodness for the recordings I

00:33:04

guess the uh the Australians will

00:33:07

probably be watching more of the replays

00:33:09

than live so I'm I'm very pleased that

00:33:12

you're here thank you uh

00:33:18

uh 2 A.M can't even think of that

00:33:22

hot press for portrait

00:33:25

I guess

00:33:26

what kind of portrait you're doing like

00:33:28

what style you're doing it in and

00:33:29

everything I think it's great for the

00:33:31

final features and everything but I find

00:33:33

that it's harder on hot press to get a

00:33:36

nice

00:33:37

a nice blending of colors as as much it

00:33:41

tends again to sit on the top of the on

00:33:43

the surface of the paper more because

00:33:45

the hot pressed paper they compress the

00:33:48

fibers you know they use heat to make

00:33:50

the paper and so the the fibers get uh

00:33:54

more compressed you know just like

00:33:55

they've been ironed so the paint has a

00:33:59

tendency to sit more on the surface than

00:34:01

it does into the paper so it's fantastic

00:34:04

for detail but then the washes aren't as

00:34:08

good I actually like I actually like

00:34:11

doing portraits on rough paper but of

00:34:12

course it means that you're not going to

00:34:14

get that super fine detail in your in

00:34:17

your in your uh uh facial features maybe

00:34:21

that's important to you maybe it's not

00:34:23

maybe like I know that

00:34:25

every time I do a demo you're seeing how

00:34:28

I paint but out there you guys you're

00:34:31

probably got a dozen different styles

00:34:34

that you prefer to paint in and so

00:34:40

I'm just coming in here reinforcing some

00:34:42

of the

00:34:44

some of these Shadows a little bit more

00:34:47

getting a little braver

00:34:50

building up a little bit

00:34:53

I'm going to go a little bit more

00:34:54

permanent Rose maybe in this

00:35:03

and she's got a little crease in the

00:35:05

corner of her mouth so I'm going to put

00:35:07

that in at the same time so I'm getting

00:35:10

some really nice soft tones here there

00:35:12

is right across the bridge of her like

00:35:16

above the bridge of her nose there's

00:35:19

um between the Brows I guess there'll be

00:35:22

a little little change of plain so just

00:35:25

a slight it's not a lot

00:35:33

but there's just a little bit of a

00:35:38

little bit of color change right here

00:35:42

the rest of her forehead's pretty

00:35:46

pretty light

00:35:47

you know other than where her hair tucks

00:35:49

up underneath

00:35:51

a little more of that peachy color in

00:35:53

there

00:35:59

and I do have to be paying attention is

00:36:02

this drying if it's drying

00:36:05

it's talking to me

00:36:08

it's telling me I better stop you know

00:36:10

if it's if I start getting hard lines

00:36:12

that's telling me time to quit

00:36:16

and I think that's just about where I'm

00:36:19

at right now

00:36:20

I know it doesn't stay a lot wet long

00:36:22

does it

00:36:24

good thing is is I can dry it quick and

00:36:26

and keep going

00:36:28

now I'm going to come in along her chin

00:36:30

here and add a little bit more of that

00:36:33

um peachy color because because on your

00:36:36

chin there's like a little ball right so

00:36:39

um so to make that look round

00:36:41

I need to put a little shading in there

00:36:46

not quite blending as I want some

00:36:48

rinsing my brush and blotting and I'm

00:36:51

going to tickle that now it's it's

00:36:54

telling me to stop so my paper's saying

00:36:56

stop uh time to stop

00:37:01

I have to dry again

00:37:03

and I'll do this process many many many

00:37:05

times as I'm doing a portrait and really

00:37:08

building up those those shapes

00:37:11

so I think I'll probably do maybe one

00:37:13

more and then I'll go on to the facial

00:37:16

features

00:37:17

because I know watching the same step

00:37:19

over and over again is a little bit

00:37:21

redundant

00:37:22

although there is changes there are

00:37:25

changes English is fine there are

00:37:28

changes as you do this

00:37:33

as you add each layer the changes are

00:37:36

subtle but they are there

00:37:43

what's the difference between using them

00:37:45

I find that the permanent alizarin

00:37:48

Crimson is maybe just a little darker

00:37:50

red a little bit a little bit duller

00:37:53

perhaps a little cooler uh

00:37:56

but that of course changes with every

00:37:59

brand that you use as well

00:38:00

uh

00:38:02

if I were to do I have a scrap of paper

00:38:05

handy

00:38:08

if I were to take

00:38:10

permanent Rose here

00:38:13

and

00:38:15

permanent alizarin Crimson beside it

00:38:18

you'll see that the permanent alizarin

00:38:20

Crimson is you know just a little a

00:38:22

little bit duller a little bit darker a

00:38:25

little duller not too much difference

00:38:28

um

00:38:30

so I I start to use the permanent

00:38:32

alizarin Crimson as I start getting into

00:38:34

more Shadows but honestly if you didn't

00:38:36

have both just use one or the other so

00:38:42

I'm going to wet this one more time

00:38:50

drop some on the hair let me get that

00:38:52

off

00:38:53

as I don't want my skin tones running

00:38:55

into my hair

00:38:57

just take a dry paper towel and blot

00:38:59

that off

00:39:01

and I'm going to come in here still

00:39:04

working around that eye

00:39:20

distribute that water evenly

00:39:27

you might think well why why don't I

00:39:29

just use a spritzer I get that a lot why

00:39:31

don't I just use a spritzer or a spray

00:39:34

bottle and

00:39:36

the reason is because I don't want skin

00:39:38

tone to start bleeding into the eye

00:39:41

do I avoid granulating colors for

00:39:43

portraits I I do actually but that's a

00:39:48

personal preference some people like

00:39:50

that grittiness and it might depend on

00:39:52

the person that I'm doing like if I were

00:39:54

if I were doing a

00:39:56

a real

00:39:57

Dusty rugged cowboy kind of thing you

00:40:00

know I'm a gritty

00:40:01

uh pigment might be great for that kind

00:40:04

of a character you know that might work

00:40:05

out really well but for a young person I

00:40:09

probably wouldn't be using any

00:40:11

granulating colors there

00:40:14

so I guess the answer is depends

00:40:17

but um

00:40:22

a little bit more skin tone just

00:40:25

coming up into some of these darks dark

00:40:28

areas here getting a little bit more

00:40:30

built in there

00:40:32

a bit more down on her cheek

00:40:38

I'm gonna blot my brush here I want a

00:40:39

little bit of control I want to get a

00:40:41

little more

00:40:42

pinky tone down under her nose

00:40:48

middle of this Shadow right here now as

00:40:52

the like if I start painting into the

00:40:55

really wet paint the

00:40:58

color I put on really starts to disperse

00:41:01

but if I wait until that

00:41:04

um paper gets to just the right Sheen So

00:41:08

when you buy wallpaper or when you buy

00:41:10

paint for your house you can buy gloss

00:41:13

you can buy satin or you can buy flat

00:41:15

and so the the kind of look I'm looking

00:41:18

for is the satin so I'm looking for a

00:41:21

satin finish on my wet paper

00:41:24

and um and I will paint into that if I

00:41:27

paint in well it's really glossy it will

00:41:30

the colors will melt more

00:41:32

so timing is pretty important and

00:41:35

don't forget your brush your brush

00:41:38

dampness or how wet it is uh should be

00:41:42

also a factor you need to consider how

00:41:44

wet your brush is if you're forgetting

00:41:46

about your brush

00:41:49

you

00:41:51

you may end up putting in something

00:41:53

really wet over top

00:42:00

oh yes granulation yeah uh Birds both

00:42:03

burnt sienna and and Payne's gray or

00:42:05

burnt sienna and um ultramarine blue for

00:42:08

example to make a gray that way they

00:42:11

would get very granulating now you'll

00:42:13

notice I haven't used any blue in here

00:42:15

yet

00:42:16

um well the little hint that I put in

00:42:18

that greenish color but I didn't put any

00:42:21

blue one thing I have found about adding

00:42:24

blue to a portrait is wow does it make

00:42:26

things gray really fast so I'm avoiding

00:42:31

any any gray or blue at this stage I

00:42:34

really want to try to build up those

00:42:36

Contours as much as I can with warmer

00:42:40

colors and I made this mistake when I

00:42:42

was learning portraits is that I put in

00:42:45

blue I wanted to make my Shadows cool

00:42:47

right my highlights are warm so I want

00:42:49

to make my Shadows cool so I put in blue

00:42:52

and found that it just got so flat and

00:42:56

so lifeless so I find that

00:43:00

putting more of a

00:43:03

a burgundy or a rusty color in your

00:43:07

shading for your face is much more

00:43:11

lively I'm much happier with my

00:43:14

portraits now that I'm not putting a lot

00:43:16

of Blues into my Shadows

00:43:20

it's really like

00:43:21

how I like them so much better

00:43:30

so as I'm waiting for that satin shine

00:43:33

you know the the

00:43:35

paper's really wet then it's a little

00:43:37

wet and then it's damp and then it's

00:43:39

less damp and so on so there's there's

00:43:42

all this process of as it's drying you

00:43:45

have to try and find the right moment

00:43:47

and you know what that's a practice

00:43:48

thing just

00:43:51

keep trying and you will learn what that

00:43:54

right timing is and you'll know the

00:43:57

telltale signs of when you should stop

00:43:59

because it will um

00:44:03

it will start to form harder edges that

00:44:05

you're you're not wanting and with more

00:44:09

experience as well you you'll learn that

00:44:11

you can

00:44:13

um maybe dampen an area just before you

00:44:16

paint into it and that sort of thing

00:44:18

inside the mouth is important not to put

00:44:20

blue oh yes I mean

00:44:23

look at your mouth is very pink right

00:44:25

everything in there is very pink

00:44:28

um

00:44:29

there are like like if I open my mouth

00:44:33

you know you see real dark areas in

00:44:35

there but the tongue the the gums

00:44:38

they're not

00:44:39

there there's no blue there so

00:44:43

watch that you don't get your shadows

00:44:45

too blue too dull

00:44:52

foreign

00:44:53

to get a harder line let's blot my brush

00:44:57

tickle the edge there so I can soften

00:45:00

that

00:45:01

walk that down all right so you can get

00:45:04

the idea now of how I'm creating the

00:45:06

Contours and I would do this multiple

00:45:08

times in order to get this the way I

00:45:10

want it

00:45:11

now I'm going to come back to that Ultra

00:45:14

or not my ultramarine pardon me I meant

00:45:16

to say

00:45:17

permanent alizarin Crimson a little bit

00:45:20

of neutral tint

00:45:22

and here's why I'm using neutral tint

00:45:24

instead of Payne's Gray

00:45:26

if I were to paint with Payne's Gray

00:45:33

I would put

00:45:36

this is my neutral tint

00:45:39

and you can see that it's a little on

00:45:41

the purplish side let me thin it down

00:45:43

because it's a little easier to see when

00:45:44

it's diluted a bit

00:45:47

that is neutral tint

00:45:50

and when you see them side by side

00:45:51

you'll see that there's quite a

00:45:53

difference

00:45:54

this is Payne's gray so you see how much

00:45:57

blue there is in Payne's gray it's also

00:46:00

a darker color

00:46:01

but there you go

00:46:03

neutral tint which already has a little

00:46:06

bit of that pinky purple tone in it or

00:46:10

Payne's gray which leans a little bit

00:46:12

more to the blues and purples so I'm

00:46:15

staying away from the blues and purples

00:46:16

for her skin tones for sure if I have to

00:46:20

add anything it's going to be neutral

00:46:22

tint

00:46:34

yet I do use my travel brushes a lot I

00:46:37

just I think it's it's not

00:46:40

you know the fact that it's a travel

00:46:42

brush so much is I just like the

00:46:44

squirrel hair brushes and how they come

00:46:45

to a nice point and hold a lot of paint

00:46:47

so I I do use these a lot

00:46:52

um okay so what speaking of sort of wetting

00:46:56

an area before you work on it I'm gonna

00:46:58

dry what I've got

00:47:16

and

00:47:19

let that get back I didn't get it too

00:47:22

hot this time so I'm going to come in

00:47:24

I'm going to dampen around her mouth

00:47:28

so I'm going to dampen all around her

00:47:31

mouth

00:47:32

except for the teeth I'm going to dampen

00:47:34

around her mouth

00:47:37

and I want to dampen that because unless

00:47:39

you're wearing wax lips or really strong

00:47:43

lipstick or something usually you don't

00:47:45

have a perfect line where your lips are

00:47:47

if you have natural lips on your

00:47:50

portrait

00:47:51

you would typically have

00:47:56

a

00:47:58

a little bit of a soft Edge along the

00:48:00

top and if you it's funny because if you

00:48:03

work on dry and you paint the lips on

00:48:05

separate they look separate they look

00:48:07

like they were cut and pasted on the

00:48:09

face so you want them to like I mean

00:48:12

they're all it's really skin right your

00:48:15

lips are skin and the

00:48:18

um

00:48:19

you know there's a there's no seam other

00:48:22

than just the changing of color so you

00:48:25

want to make sure that that's not a hard

00:48:26

seam uh I don't think there's too much

00:48:28

on on us that has like hard seams we our

00:48:32

skin changes from

00:48:35

you know color to color and and light to

00:48:38

Shadow and everything but there's no

00:48:40

seams there's no hard edges uh so

00:48:44

I'm going to use some of that I'm going

00:48:46

to use some of that alizarin crimson

00:48:49

and maybe a bit of

00:48:52

um raw Sienna

00:48:58

those together a little bit and I think

00:49:00

that would give me a nice deeper deeper

00:49:03

pink for her lips

00:49:10

so I dampened it

00:49:16

and now when I paint that in

00:49:19

the edge of that line isn't like a hard

00:49:22

crisp cut out looking thing so my brush

00:49:26

is not overly damp as well and I am

00:49:29

looking also at the Contour of just the

00:49:32

lip so the lip is rounded the lower lip

00:49:34

in particular is rounded

00:49:36

so as I paint this

00:49:41

that could actually be a little wetter

00:49:43

so I'm going to dampen my brush and just

00:49:45

get that a little bit wetter here

00:49:50

Dan I should say damper I shouldn't say

00:49:53

wet because that that's misleading it's

00:49:56

damp a little bit more damp

00:50:03

yeah color charts are a good idea yeah

00:50:11

so I'm going to uh this is permanent

00:50:13

alizarin Crimson with a little bit of

00:50:15

raw Sienna here

00:50:16

and I'm painting on a damp not wet but a

00:50:20

damp surface and the Highlight on her

00:50:23

lip is actually

00:50:24

much like her skin color

00:50:33

I can add a little bit more of the

00:50:35

darkening

00:50:37

under here

00:50:40

in fact when I'm still at this light

00:50:42

stage I'm going to come down into her

00:50:44

gums as well

00:50:52

the inside of her mouth here is quite

00:50:54

dark so I'm just going to paint that

00:50:56

across there so I was able to get some

00:51:00

some of that nice tone it doesn't look

00:51:03

harsh because I dampened the area first

00:51:06

but only damp not really wet

00:51:08

dampen the area first

00:51:11

and I'm working into it while it's still

00:51:14

a little damp to build up these Shadows

00:51:16

so I'm just taking a little more color a

00:51:18

little less watery color and adding that

00:51:22

in

00:51:23

leaving just not painting where the

00:51:25

Highlight is

00:51:34

okay I think I need to soften this line

00:51:36

just a little bit so I'll just

00:51:38

blot my brush and just soften that a

00:51:41

little bit

00:51:42

and anywhere I feel that I need to

00:51:44

soften it a little bit that's what I

00:51:46

will do just I'm blotting my brush

00:51:49

and just

00:51:50

tickling with the tip of my brush here

00:51:55

that softens anything that I'm not happy

00:51:58

with all right so we have some fairly

00:52:01

decent looking lips we also painted the

00:52:03

gums at the same time

00:52:14

if you get a water yeah and that's why

00:52:17

if you get a water ring or a blossom the

00:52:22

reason here is because your brush is

00:52:25

wetter than what's on the surface now

00:52:27

remember if this is only a little bit

00:52:28

damp boy your brush has to be quite a

00:52:30

bit drier than that it can it needs to

00:52:33

be a little damp but it can't be wetter

00:52:36

than the paper

00:52:38

so that's what you have to be careful of

00:52:40

make sure that like this brush to my

00:52:42

hand just feels like uh it's almost dry

00:52:45

but it's I can still feel a little bit

00:52:47

of dampness and that's it that you know

00:52:48

I wouldn't be able to really get a shine

00:52:51

or paint anything on my fingers and

00:52:52

actually show the water that's how dry I

00:52:55

have dried my brush

00:52:59

but it's always because like blossoms

00:53:02

always happen because what's in your

00:53:03

brush is wetter than your paper so

00:53:05

that's why that happens

00:53:09

hello Sweden

00:53:11

hi Germany

00:53:15

all right so

00:53:17

uh I did take that very lightest skin

00:53:21

tone I took that through her teeth

00:53:22

because her teeth are not uh cool white

00:53:26

like her eyes are here

00:53:29

so

00:53:31

I'm going to leave her lips again for a

00:53:33

minute I'm just going to let those dry

00:53:34

and I'm going to go on to something else

00:53:36

here but I'm going to take some of that

00:53:39

darker uh color that I used for her lips

00:53:44

maybe put a little

00:53:46

neutral tint into it

00:53:50

get that a little bit darker

00:53:52

and I'm going to

00:53:55

get this nostril a little bit more

00:53:58

defined now you can see I'm painting on

00:54:00

dry

00:54:01

I'm painting on dry there and that makes

00:54:03

like a really solid line right well that

00:54:07

doesn't look right so I'm going to

00:54:08

deliberately blot my brush and dampen it

00:54:12

and and tickle that to soften that edge

00:54:15

so that's when I'm doing a little detail

00:54:17

if I'm doing a little small detail I

00:54:21

will paint it on the dry and then I

00:54:22

soften it

00:54:24

so it depends on what you're doing if

00:54:26

you're doing larger areas like you know

00:54:28

her forehead and her cheek and and

00:54:30

you're trying to do all of that all

00:54:32

simultaneously that's when I wet the

00:54:35

whole area and I start dropping it in

00:54:36

nice and wet and then I start to refine

00:54:38

and when I start to refine and really

00:54:41

um get down into the

00:54:44

The Contours of the face like the the

00:54:46

finer smaller shadows and things like

00:54:49

that I will come in and do this on dry

00:54:53

and then blot my brush and manually

00:54:56

soften that edge

00:54:59

manually soften right as opposed to

00:55:04

um

00:55:05

wetting the area first

00:55:07

all right so I dampen my brush and help

00:55:09

that to move so I put a little Shadow

00:55:12

underneath her underneath the end of her

00:55:14

nose here

00:55:16

let's do a little bit more there

00:55:19

that's softer than her nostril

00:55:26

and I will do some of this in this

00:55:29

crease of her smile

00:55:32

as well so I put this crease of her

00:55:34

smile in here a little bit stronger

00:55:36

a little bit darker

00:55:39

and I'm going to rinse and blot and I

00:55:41

have to work quick because if I start

00:55:44

chatting that really starts to harden so

00:55:46

of course you timing is everything you

00:55:48

have to work quick when you are

00:55:50

softening a line because you you need to

00:55:52

get in there before that paint dries

00:55:55

doing it while the paint is still wet or

00:55:58

doing it while the paint is still wet is

00:56:00

very important so

00:56:04

so I'm rinsing and blotting

00:56:07

softening this Edge

00:56:10

and I will go with little increments

00:56:12

like this and you can see her nose is

00:56:14

starting to get more Dimension to it

00:56:17

when your paper is dry and you re-wet a

00:56:19

small area sometimes it gets a watering

00:56:21

yes it does uh so when you re-wet an

00:56:25

area make sure that the previous layers

00:56:28

especially if you've got a lot of layers

00:56:29

built up make sure that those previous

00:56:32

layers are fully dry and with every

00:56:35

subsequent layer don't get your paper

00:56:38

sopping wet like the very first layer

00:56:41

you know each layer you're dampening

00:56:44

dampening not wetting so much once you

00:56:47

wet something you soften up those first

00:56:50

layers and it that starts to create

00:56:52

those rings so only damp on

00:56:56

um after you've done a bunch of layers

00:56:58

only damp

00:57:02

all right so let's let's come on up and

00:57:05

do the white of her eye

00:57:08

so the white of her eye

00:57:12

I have a suspicion she used a i a

00:57:14

whitening feature on this Photograph

00:57:17

this is her photograph

00:57:19

um it's a selfie as you can tell but uh

00:57:22

she might have used that because this

00:57:24

looks uh quite white and I'm I am going

00:57:28

to use a little bit of blue so this is a

00:57:29

little bit of cobalt but Cobalt by

00:57:32

itself is kind of bright let's I'll dull

00:57:35

that down with just a little bit of that

00:57:37

peachy color

00:57:39

those peachy colors a little on the

00:57:41

orange side

00:57:42

just a little bit just so it's not a

00:57:45

bright blue

00:57:47

dull it down neutralize it

00:57:56

all right so it's pretty watery I don't

00:57:58

want it I obviously want to keep this

00:58:00

fairly light but I'm going to I'm going

00:58:03

to dampen this

00:58:08

the white of her eye let me see if I can

00:58:10

zoom it a little closer as I do this

00:58:14

just as I do this part

00:58:16

so small brush I'm dampening this area

00:58:19

here around her Iris and so on

00:58:25

in fact I probably could go right

00:58:27

through her whole eye

00:58:30

now that I'm looking at it

00:58:37

all right only damp it's you know it's

00:58:39

not really like if I hold this up you

00:58:41

can't even really see much of a shine on

00:58:43

it at all

00:58:45

you know you're too wet if you see a

00:58:47

real shine

00:58:49

so I'm going to take a little bit of

00:58:51

this blue gray but only a little bit on

00:58:52

my brush if I put too much it's a small

00:58:54

space if I put too much on there this

00:58:56

will really fill in fast so I'm going to

00:58:58

blot my brush and just sort of ease my

00:59:02

way into this

00:59:06

okay it's not pure white

00:59:09

I think I need a little more color

00:59:12

a little bit more blue and the lids or

00:59:16

where her eyelashes make a little bit

00:59:18

more Shadow so it's going to have a

00:59:20

little bit more

00:59:22

um blue there and this always looks

00:59:24

crazy when you do this on the eye it

00:59:27

always looks a little bit

00:59:30

um

00:59:31

a little bit weird

00:59:36

yes the fact that if you're not working

00:59:39

on 100 cot 100 cotton paper sometimes

00:59:42

you can get a ratio like some cotton and

00:59:44

some other stuff but 100 cotton paper

00:59:47

will be the easiest for this layering

00:59:51

effect uh definitely because it won't

00:59:53

lift what's underneath

00:59:55

so the inside corner of her eye is less

00:59:59

blue it's actually got a little bit more

01:00:01

of this skin tone in it so I'm going to

01:00:02

put a little bit of that

01:00:05

color in there although I just went a

01:00:07

little bit heavy so I'm gonna thin it

01:00:09

down

01:00:10

and go a little bit with the pinkier

01:00:14

color in her

01:00:15

the in inside near her tear or I guess

01:00:20

it's a tear duct isn't it

01:00:22

there

01:00:26

coming back to my blue now I the reason

01:00:28

I left my blue for a minute is because

01:00:30

it was still pretty wet and I didn't

01:00:33

have control over where I was putting

01:00:34

this

01:00:40

so

01:00:41

I'm now coming under here a little bit

01:00:44

more and this is always going to feel

01:00:45

like like too dark too dark too dark and

01:00:48

it's only because the pupil's not done

01:00:50

yet or the iris isn't done yet

01:00:55

so I'm looking very closely at my

01:00:58

picture to see where is that

01:01:02

where's that light where's that dark

01:01:04

where's the shadow going

01:01:08

a little bit more

01:01:15

my brush is really getting quite dry now

01:01:17

if I were to take that piece of paper

01:01:19

just to show you

01:01:23

like that's how dry it is

01:01:25

so

01:01:26

I'm going to come

01:01:28

in here

01:01:30

now with a much drier brush

01:01:33

and I see just little hints of this

01:01:37

uh

01:01:38

shade color here

01:01:46

didn't want it that dark right in that

01:01:48

spot so I'll lift that off

01:01:53

and that looks goofy doesn't it looks

01:01:55

looks really strange

01:01:59

so we need to do the we need to do the

01:02:01

the iris to get rid of that strangeness

01:02:06

so for her Iris she has green eyes

01:02:11

um

01:02:13

so I'm going to use

01:02:15

some of this blue

01:02:18

cobalt blue little bra Sienna

01:02:23

because it's not a bright bright green

01:02:25

it's a it's a green but it's and raw

01:02:27

Sienna being in the

01:02:30

um

01:02:31

yellow family will produce a little bit

01:02:34

of a green color

01:02:38

and I'm going to in my paper is now

01:02:40

getting pretty darn dry so I'm pretty

01:02:43

much painting on dry paper right now

01:02:48

and

01:02:53

I will

01:02:55

just I'm gonna work around highlights

01:02:58

so I'm painting

01:03:01

around spaces I could have masked those

01:03:04

off as well

01:03:06

but I think I kind of like them softer

01:03:08

looking and I will soften this a bit in

01:03:11

a second

01:03:18

masking fluids wonderful but it can give

01:03:21

you really harsh highlights so where I

01:03:24

want to soften it a little bit is just

01:03:25

just here at this Edge

01:03:28

and here and I'm getting really picky

01:03:30

now when I'm doing my portraits this is

01:03:32

how picky I get but

01:03:34

you may not that might not be your cup

01:03:37

of tea maybe that's too picky for you

01:03:39

and that's perfectly fine

01:03:42

I'm gonna go stronger color now

01:03:48

the outer part of the iris is always a

01:03:51

little bit darker doesn't seem to matter

01:03:53

what um

01:03:54

what color your eyes are the outer part

01:03:57

of the iris is always a little bit

01:03:58

darker

01:03:59

probably a name for that a medical name

01:04:01

but I don't know what it is

01:04:05

but this shape is important and it it's

01:04:08

as if and I'm following what I see in my

01:04:10

photograph I am not

01:04:13

um I'm not putting in a full circle her

01:04:16

eyelids are covering some of that Circle

01:04:18

we know it's a circle

01:04:20

but her eyelids are covering some of

01:04:22

that so therefore we don't see the

01:04:25

entire Iris now the reason I'm putting a

01:04:28

little bit of dark under here

01:04:30

is because of the shading that the eye

01:04:34

the eyelashes and things are going to

01:04:36

give us

01:04:39

all right so I've got a light and I've

01:04:40

got a dark let's just start

01:04:43

um

01:04:44

getting a little bit more mid value in

01:04:46

here so I'm just going to

01:04:49

build this up a little bit

01:04:52

and you look you know where's the

01:04:53

highlights in the eye and I don't want

01:04:55

to fill that all in because I think it

01:04:57

would get too dark there and I want our

01:04:59

eye to have some life

01:05:02

so we've got kind of a nice green Iris

01:05:06

they still think I could go a little

01:05:08

darker on the outside

01:05:12

it's always going to dry lighter

01:05:14

remember that

01:05:20

raw Sienna

01:05:22

cobalt blue

01:05:27

a little more blue because I need it a

01:05:28

little bit darker

01:05:30

and

01:05:39

so I put a darker line along her upper

01:05:42

lid

01:05:43

but she doesn't have any uh any dark

01:05:46

line along the bottom because of the

01:05:52

um you know the light is coming down so

01:05:54

it's her upper lid is shading her eye

01:05:56

not her lower lid

01:06:06

I'm going to rinse this a little bit

01:06:11

softness softness softness I think

01:06:13

that's

01:06:14

one of the biggest things with portraits

01:06:17

you know if they're not looking quite

01:06:19

realistic for you

01:06:21

you're not focusing enough on your

01:06:23

softness

01:06:24

I knew somebody would look that up for

01:06:27

me limbo ring okay

01:06:29

now I know thank you

01:06:34

the limbo ring will I remember that the

01:06:37

next time I paint a portrait I don't

01:06:38

know

01:06:40

I have to think of some way to remember

01:06:41

it limbo

01:06:43

symbol for the shape of a symbol limbo

01:06:46

ring

01:06:47

word association

01:06:50

all right so now my neutral tint neutral

01:06:53

tint if I use it heavy like if I use it

01:06:56

fairly

01:06:57

um creamy consistency it looks really

01:07:00

dark it'll make you know very very good

01:07:02

dark if I thin it out it turns into this

01:07:05

really nice sort of purple gray but I'm

01:07:08

going to use it fairly thick here

01:07:11

to create the middle of the um like the

01:07:14

pupil basically

01:07:16

and that of course is in the very middle

01:07:35

and

01:07:38

I think it needs a little bit of

01:07:40

softening around the outside so I'm

01:07:42

really blotting my brush

01:07:46

and just softening that a little bit

01:07:51

now you notice how much I'm slowing down

01:07:52

to put the details in the features the

01:07:55

features

01:07:56

especially the eyes are

01:08:01

pretty darn important right there

01:08:03

they're really quite important

01:08:05

so

01:08:07

I slow it down I really put a lot of um

01:08:12

work into those areas I'm going to

01:08:15

darken the limbo ring

01:08:19

if I say it enough times I'll remember

01:08:21

it

01:08:25

I thought it was dark and then it dried

01:08:27

and it's like oh man it's not dark and

01:08:29

especially once I put that

01:08:31

that really dark area in the middle of

01:08:34

her eye okay so now the limbo ring is is

01:08:37

much darker I still think her eyes are

01:08:39

probably a little bit too light if the

01:08:41

pupil looks like it's like

01:08:44

too dark you're probably too light with

01:08:48

the

01:08:50

with the iris

01:08:57

I'm looking to see what you've been

01:09:00

waiting to paint her red-headed Freckle

01:09:03

face granddaughter she's eight and

01:09:05

blonde and dark highlights

01:09:07

oh advice for oh red hair oh you know

01:09:10

what I've had a couple of inquiries ever

01:09:13

since I did blonde the blonde one last

01:09:15

week I've had you know what what's the

01:09:17

right colors to use for brown what's the

01:09:19

like right colors to do for curly or you

01:09:22

know how do you do curly and how I could

01:09:24

do like 10 demos just on people right

01:09:28

could be a whole course just on that but

01:09:31

um

01:09:32

as I was saying to somebody else the

01:09:36

um

01:09:37

a lot of things come into play like the

01:09:40

lighting and

01:09:43

um

01:09:44

you know you've probably all seen um

01:09:48

you know a black lab when you see a

01:09:50

black lab for example and he's indoors

01:09:53

and he just looked black you know and

01:09:55

then you put him outside and he's he

01:09:57

turns all his highlights are blue

01:09:59

because he's the highlights especially

01:10:02

on dark hair will reflect you know the

01:10:05

surroundings so outside there's a lot of

01:10:07

blue sky and so their highlights end up

01:10:10

being blue

01:10:12

um I'm going to press on here I'm going

01:10:14

to keep darkening some of these areas

01:10:16

but not anything new I'm just darkening

01:10:19

what I have

01:10:22

and

01:10:24

softening up but yeah all the different

01:10:27

hair types curl curly

01:10:30

um

01:10:32

even afro it's quite different and

01:10:35

braids and

01:10:38

light and dark and red and there's

01:10:41

there's so much variety

01:10:43

that uh I could do a hundred different

01:10:46

demos so I guess

01:10:51

what color would I use for red hair and

01:10:54

freckles

01:10:55

well that perylene maroon is pretty nice

01:10:57

but um

01:10:59

I will say one thing about people with

01:11:01

hair that's colored

01:11:03

um

01:11:04

you know whether it's naturally colored

01:11:06

or whether it's colored

01:11:08

chemically

01:11:12

start off with your highlights remember

01:11:14

next if you remember last week I was

01:11:16

talking about next to the Highlight is

01:11:18

the purest brightest color so start with

01:11:21

your light colors and build up to your

01:11:23

darks because the light colors will get

01:11:27

muddy faster

01:11:31

all right so I'm I think I need a little

01:11:34

bit more blue

01:11:35

on her eye

01:11:37

I thought it was a lot at first it

01:11:40

looked like it was too dark and now I'm

01:11:42

thinking it's too light

01:11:44

and especially when I get her eyelashes

01:11:46

on there I think this is going to be too

01:11:48

light

01:11:49

so I'm just slowly building this up

01:11:51

because her eye is sitting in a socket

01:11:56

right it is sitting in a socket it's

01:11:58

covered with uh or surrounded by skin

01:12:01

tones

01:12:02

so

01:12:04

we need to get that in there now she's

01:12:06

wearing makeup so she has an eyeliner on

01:12:08

here that's quite dark and

01:12:14

I'll need to put that in uh just before

01:12:17

I do though before I put in her

01:12:20

her lashes and stuff which are the

01:12:23

darkest right they're they're quite dark

01:12:24

I'm going to establish the crease in her

01:12:27

eyelid before I do that so a little raw

01:12:30

Sienna

01:12:33

permanent alizarin crimson and I'm going

01:12:36

to even put a little bit of uh neutral

01:12:38

tint into that

01:12:41

to get a little bit more

01:12:43

uh dark more Shadow more

01:12:48

less less bright right so

01:12:53

I'm going to be working on dry

01:12:58

and then I will soften

01:13:18

all right

01:13:20

now while I have that color I'm going to

01:13:22

come up here I'm going to dampen where

01:13:24

her eyebrow is going to go

01:13:27

I'm going to ignore that hair there that

01:13:30

little hair wisp of hair that's coming

01:13:32

down I'm going to ignore that

01:13:35

we're going to pretend that I just

01:13:38

um

01:13:42

that I just had that masked okay we're

01:13:44

just going to pretend that

01:13:46

so I'm going to take that neutral tint

01:13:53

raw Sienna

01:13:56

and

01:13:58

um

01:13:59

alizarin Crimson but more not more

01:14:03

more

01:14:05

neutral tint than anything else all

01:14:07

right so I'm going to start off her

01:14:09

eyebrow with

01:14:12

a little bit of this darker Browner

01:14:15

shade and you see I'm putting it on wet

01:14:17

because I want to keep this nice and

01:14:19

soft looking to put eyebrows on just

01:14:22

white skin it looks so

01:14:26

um so harsh it just looks like uh

01:14:29

well it looks like it's painted on

01:14:36

I also feel like I'm going to use a

01:14:39

little bit more shading around her eye

01:14:42

here so I'm going to come around her eye

01:14:45

on this side and I'm going to shade this

01:14:47

before I start putting any of that

01:14:49

darker makeup on so this needs to be

01:14:52

darker but of course it needs to be

01:14:55

softened so I rinse my brush

01:14:58

and I tickle all these edges

01:15:02

to get those blending in

01:15:17

and I think I can go just slightly

01:15:19

darker because

01:15:21

I know that's going to look very very

01:15:24

light next to that

01:15:26

dark liner

01:15:38

and I'm just going to rinse and blot my

01:15:40

brush and soften this into the rest of

01:15:43

the skin tones

01:15:50

I'm going to use that same color on the

01:15:52

inside of her tear duct

01:15:56

okay she's got a little tear duct here

01:15:58

and that's a little bit darker

01:16:18

keep building this up I go in small

01:16:21

increments I know some of you are much

01:16:23

Bolder that I am

01:16:25

just

01:16:26

put that color in and you're done I'm

01:16:29

more of a slow build kind of gal

01:16:32

and

01:16:33

that's just the way I work it's not

01:16:37

necessarily the right way or the wrong

01:16:39

way it's just the way I work

01:16:41

do I use a different brush to soften or

01:16:43

I just I usually just rinse my brush but

01:16:45

you could use a different brush that

01:16:46

would be perfectly fine

01:16:48

I just I don't like putting putting my

01:16:51

brushes down to pick up a new brush or I

01:16:53

might forget and picked up the wrong

01:16:54

brush so I usually just use one brush

01:16:57

that's just kind of the Habit I've

01:16:59

gotten into but yeah there's nothing

01:17:01

wrong with uh

01:17:03

with using two brushes if you want use

01:17:05

one for softening and one knot

01:17:21

so let's cool that down

01:17:24

add a little more on there

01:17:31

kind of surprising how dark I'm going

01:17:33

but it will

01:17:36

um but eventually look like it's not too

01:17:39

dark because of the dark that's going to

01:17:41

go on top

01:17:43

so softening these edges once again

01:17:51

and when I soften my edges I'm not just

01:17:54

using the tip of my brush to you know my

01:17:58

brush handle up straight I'm laying the

01:18:00

brush down because it's dampening all

01:18:03

the way out here

01:18:04

and then I don't have just a new hard

01:18:07

line right I it it's too damp for that

01:18:11

to make a new hard line so I lay the

01:18:13

brush down as I'm softening an edge

01:18:20

make sure that the the side of the brush

01:18:23

is sitting on the paper

01:18:31

I think I might use a little of that on

01:18:33

her nose too just on the underside of

01:18:37

her nose

01:18:40

and soften that

01:18:48

and I'll find a couple of other places

01:18:50

to put

01:18:52

couple of little darks um

01:18:54

just a little bit on her neck I'm just

01:18:56

doing right now

01:18:59

but uh

01:19:01

yeah

01:19:02

so

01:19:07

I will I will now I'm gonna dry this

01:19:10

well

01:19:11

so that I can start putting in you know

01:19:15

liner and lashes and things like that

01:19:17

and uh

01:19:20

maybe get into even the teeth

01:19:39

you know a portrait like this even just

01:19:42

taking half of a face and and just

01:19:44

playing around with it see what you can

01:19:45

do with it it's probably good practice

01:19:48

um

01:19:50

what I don't recommend

01:19:52

um and I'll I'll say this for most

01:19:54

people it's

01:19:55

um when you're trying something new for

01:19:57

the first time

01:19:59

yeah

01:20:00

don't plan for it to be a gift for

01:20:03

somebody or something precious so you

01:20:05

think you're going to hang on your wall

01:20:06

do it as a practice like just treat it

01:20:09

like a practice let the mistakes happen

01:20:11

if they happen learn from those mistakes

01:20:13

and then once you learn from those

01:20:16

mistakes you'll feel more confident when

01:20:17

you're actually going to do your

01:20:19

painting but don't start off with oh I

01:20:21

want to do a portrait of my dad but I

01:20:24

haven't done a portrait in five years

01:20:27

and you know I always struggle with hair

01:20:30

and you know so don't sit down and say

01:20:32

oh look at this is going to be the

01:20:33

portrait I'm going to do do a practice

01:20:36

uh you know that time isn't wasted even

01:20:39

though you're not planning to frame that

01:20:42

painting that that time it's not wasted

01:20:44

that's valuable time that you are

01:20:46

learning so

01:20:47

um don't be afraid to make mistakes

01:20:50

I'm just gonna grab some clean paper

01:20:52

towel because it's pretty wet now

01:20:55

um

01:20:57

all right so I'm going into this is

01:21:00

cooled down I'm going to go into just

01:21:02

neutral tint

01:21:05

just neutral Tint by itself now her lash

01:21:08

her eyeliner is pretty dark

01:21:11

so

01:21:13

I'm going to follow

01:21:16

right here and it gets thicker as it

01:21:19

comes along

01:21:27

now I did put it on fairly heavy but

01:21:30

that's not heavy enough so it's going to

01:21:32

have to be a lot more solid than that

01:21:35

all right so there's her

01:21:39

still will need to go a little higher

01:21:41

here just to sliver

01:21:45

she's probably better at putting on her

01:21:47

eyelashes than I am pain or eyeliner

01:21:49

than I am painting it but all right so

01:21:52

we really don't see much in the way of

01:21:54

the lashes

01:21:57

other than maybe just a few little hints

01:22:01

uh that are sticking out here and I'm

01:22:04

looking carefully at the direction and

01:22:06

I'm I've taken this same brush and what

01:22:08

I've done is I've can you see that I've

01:22:10

flattened it see if I turn it one way it

01:22:13

looks really wide and then I turn it the

01:22:14

other way it looks really thin and so

01:22:16

I'll use it like a little knife and I'll

01:22:18

just sort of cut in all of those little

01:22:20

lashes

01:22:21

to get nice little fine

01:22:23

fine lashes now lashes seldom if ever

01:22:27

are perfectly spaced or all the same

01:22:31

length

01:22:32

it always looks really weird when you

01:22:35

see

01:22:37

lashes that are look like you know a

01:22:39

child's son you know sunbeams right they

01:22:41

just kind of go lines uh

01:22:44

little space line space line space line

01:22:48

space and so on lashes are often

01:22:52

kind of this sort of thing if if we

01:22:54

could see more of her lashes her lashes

01:22:57

would probably be a little bit more like

01:22:59

you know sometimes they would group

01:23:01

together you'd have long ones you'd have

01:23:03

short ones and so on they would be a

01:23:05

little bit more arbitrary they're not so

01:23:09

um

01:23:12

they're not so uh stiff and organized

01:23:16

and all exactly the same length

01:23:19

unless they're fake eyelashes

01:23:22

but

01:23:28

now for lower lashes let's talk about

01:23:30

lower lashes for a second because with

01:23:32

lower lashes

01:23:34

they're usually very subtle very subtle

01:23:36

so my suggestion to you would be to thin

01:23:40

down that color a little bit if you put

01:23:42

it on really dark on something really

01:23:44

light now we did put this on something

01:23:46

dark because she's got that strong

01:23:48

eyeliner but the lower lashes do not

01:23:52

have that so uh we're going to dilute

01:23:55

this neutral tint

01:23:57

and do the lashes very light because I

01:24:01

really don't want them to show up too

01:24:02

much

01:24:07

um

01:24:10

I'm just reading some of the comments

01:24:12

I've

01:24:13

I've never done a portrait but I do

01:24:15

wildlife and Landscapes the techniques

01:24:17

are good for anything you paint oh thank

01:24:20

you

01:24:21

um so yeah like any painting is good

01:24:24

painting right like you it's good

01:24:27

experience in other words so you learned

01:24:29

something and it crosses over from one

01:24:31

thing to another I mean the techniques I

01:24:33

used in her hair very much like what you

01:24:35

might use on an animal's fur

01:24:38

uh but back to these small lashes okay

01:24:41

so the lower lashes I really need to

01:24:44

look at how small they are they don't

01:24:46

really come all the way over to the

01:24:48

interior duct they kind of start here

01:24:51

and I'm going very

01:24:53

hardly touching the paper and they're

01:24:57

very subtle so

01:24:59

the other thing is there's a little

01:25:02

margin of skin

01:25:05

the eyelashes do not come from the

01:25:07

eyeball they come from the lower lid and

01:25:11

not right where it meets the eyeball it

01:25:13

comes out out there a little bit there's

01:25:15

a thickness

01:25:18

um that that you use I am using the size

01:25:21

I am using is a number six

01:25:23

but this is a little large probably for

01:25:26

many of you to use uh you might want to

01:25:28

go to something much smaller or

01:25:30

something with a really nice fine point

01:25:33

like this this is a Chinese brush uh

01:25:37

that someone gave me and it has like a

01:25:39

point like a needle and I could get some

01:25:43

really really

01:25:44

super fine

01:25:46

lines if I needed to with this type of a

01:25:49

brush

01:25:50

you know and it would be quite easy

01:25:52

because it has a very long long tapered

01:25:56

type of point you might have a brush

01:25:57

that comes to a nice point but it's not

01:26:00

a Long Point like a long tapered point

01:26:04

I used to have a brush that was called

01:26:09

I think it was called a long liner or

01:26:11

something like that and it really

01:26:13

tapered to a a gradual point but very

01:26:17

very sharp at the end

01:26:19

um

01:26:23

don't start with painting babies or

01:26:24

small children if I've never painted

01:26:26

portraits it seems to be a trip

01:26:28

to trip up so many other otherwise great

01:26:31

painters yes painting children are is

01:26:33

more challenging or people that look

01:26:36

very youthful is challenging because

01:26:39

they

01:26:40

their skin is so Flawless right so you

01:26:44

know it's very hard to do Flawless when

01:26:46

you're not experienced so it is good

01:26:48

idea maybe maybe choose maybe not an

01:26:50

older person too because then you have

01:26:52

then you have uh wrinkles and things

01:26:55

like that to be worried about and how to

01:26:57

approach those types of things

01:27:00

um but maybe somebody you know 30s or

01:27:02

40s would be a good you know practice

01:27:05

Point uh

01:27:10

what side oh okay so

01:27:18

all right so

01:27:21

um yeah so that's that's the difficult

01:27:24

Parts with children being so so young so

01:27:27

new so Flawless is that it's hard to do

01:27:31

it without making them look older and so

01:27:34

you really have to look close close

01:27:36

close

01:27:39

uh reflecting light from a shirt uh how

01:27:42

strong should the wash be

01:27:45

um well it I would make it very light

01:27:47

very thin you you don't want to have

01:27:51

just one color like say say I had a uh

01:27:55

or let's say she had a really bright

01:27:58

pink hair right so she has bright pink

01:28:00

hair it's reflecting pink on her face I

01:28:02

wouldn't do it like a fuchsia color here

01:28:04

and and no skin tone under that I put

01:28:08

the skin tone on and then I would do the

01:28:09

reflected color

01:28:11

um but they would be thin layers

01:28:14

so I want to come down to uh well let's

01:28:18

finish up the eye here let's let's

01:28:19

finish up her eyebrow

01:28:21

and

01:28:22

again when I'm talking about thinning

01:28:25

down your color

01:28:27

and using a nice pointed brush now if I

01:28:30

actually see her her lashes like the

01:28:32

lines the hairs of her eyebrows I can

01:28:36

follow that Contour

01:28:38

so they go up and back up and back

01:28:50

but you really need to dilute this color

01:28:52

maybe even put it in in several layers

01:28:58

your small hairs so they overlap a lot

01:29:05

going up I was

01:29:07

trying to bring that down and it doesn't

01:29:09

go that way so

01:29:13

as one layer dries you can come in and

01:29:15

add another layer because you know hairs

01:29:17

go over top of other hairs and so on and

01:29:19

so I would build the Brows up very

01:29:21

lightly like that not don't go in with a

01:29:24

real dark color it looks like you know

01:29:26

you gotta Groucho marks kind of effect

01:29:28

when you do that

01:29:34

yeah could look very very clown like if

01:29:38

it is uh painted on very dark so

01:29:44

as one layer dries you can add a little

01:29:46

bit more on if needed blonder hair like

01:29:50

she has I think her hair is colored but

01:29:52

uh it is fairly blonde naturally but her

01:29:56

brows are a little bit darker so

01:30:06

but like I said every portrait every

01:30:08

portrait has its own unique set of

01:30:10

challenges and you know different hair

01:30:14

colors different hairstyles different

01:30:15

ages different lighting different

01:30:18

clothing you know every portrait has so

01:30:21

many different things it's very hard to

01:30:23

say well here's here's your portrait

01:30:25

tutorial and now you'll know how to do

01:30:27

all your portraits it's just not going

01:30:29

to work that way

01:30:31

all right so coming down to the mouth

01:30:34

I need to come into some of this reddish

01:30:37

color okay so I'm going to take that

01:30:39

permanent alizarin Crimson maybe a

01:30:41

little raw Sienna too just kind of the

01:30:44

color I used for the lips a little bit

01:30:46

of

01:30:47

um

01:30:48

neutral tint right so that's going to

01:30:50

dull this down and I need to get into

01:30:53

her mouth a little bit so

01:31:00

coming under that under that upper lip

01:31:05

and the little gaps in between her teeth

01:31:10

and the tricky part with these little

01:31:12

gaps is getting the shape right without

01:31:15

going over her

01:31:17

um her actual lower lip you wouldn't

01:31:19

you'd still need to maintain that

01:31:21

straight line there so you have to work

01:31:23

very carefully with this

01:31:44

okay so I'm realizing I probably put her

01:31:47

gum in the wrong place there but we'll

01:31:49

put that there okay and

01:31:54

so with with this uh lip color

01:31:59

I'm going to tone down that that back

01:32:02

tooth it starts to go back into the

01:32:04

mouth so it's starting to recede and

01:32:07

disappear and

01:32:09

but to make it look like it's actually

01:32:11

in the mouth you need to dull it down as

01:32:14

well

01:32:15

so I'm putting a little bit of that

01:32:16

neutral tint in there

01:32:18

and

01:32:25

a little more neutral tint

01:32:27

a little less runny because I need to

01:32:29

have a little bit of control here and

01:32:31

I'm going to come into

01:32:34

that area there now it starts to get a

01:32:36

little bit soft at this point I'm just

01:32:38

looking at my photo right here I don't

01:32:40

want it to look like her mouth is a

01:32:42

cardboard cutout her upper lip

01:32:45

making a little bit of a shadow on her

01:32:47

lower lip so I'm going to soften right

01:32:50

here

01:32:54

a little more color in but it it's going

01:32:56

to end up being a little bit softer

01:32:58

right there

01:33:10

we go put that crease back in there too

01:33:12

I think that could be a little bit

01:33:13

darker

01:33:15

maybe not so hard though so I'm going to

01:33:17

soften that

01:33:19

my blotted brush it is quickly blotted

01:33:22

my brush

01:33:24

when I you know after a while that

01:33:27

softening how to soften an edge just

01:33:29

becomes such a it's almost like a

01:33:31

continuous motion because you just get

01:33:33

so used to doing it

01:33:35

um really quickly after you put the

01:33:37

color down that it becomes a little bit

01:33:41

second nature I guess

01:33:44

I'm gonna get her lips A Little Bit

01:33:45

Stronger

01:33:49

her lipstick I think is a little bit

01:33:51

darker

01:33:53

her lip color it's a little bit darker

01:33:56

I'm going to just put that in there

01:33:57

soften this

01:34:02

a little more on there

01:34:05

but that has to be soft at as it meets

01:34:08

the skin outside the lip you don't want

01:34:11

to have just a hard cut cardboard cutout

01:34:14

line

01:34:16

a little bit softer there

01:34:22

and

01:34:24

also the lower part of her lip here's

01:34:28

got a little bit more color than I had

01:34:33

I'm going to soften that right away

01:34:34

rinse and blot

01:34:36

and then come in to soften

01:34:39

so that tone is getting a little bit

01:34:41

better now our teeth look flat her feet

01:34:43

her teeth don't have any shape

01:34:46

right now they're they're white but they

01:34:48

don't have any shape so we had to shade

01:34:49

the white of her eye we also need to

01:34:52

shade her teeth so I'm going to come

01:34:57

over to that that little bit of a

01:35:00

greenish color that I had mixed before

01:35:01

and mix mix a little of our skin tone in

01:35:04

with it so I get kind of a dull neutral

01:35:07

almost a a dull taupe kind of color and

01:35:12

I'm going to start getting giving her

01:35:14

just ever so slight color to some of her

01:35:17

teeth especially where her upper lip

01:35:20

overlaps her her teeth so this little

01:35:25

tiny bit of color is barely noticeable

01:35:29

I will bring that down between teeth

01:35:31

because that's what makes them look like

01:35:34

they're not

01:35:35

um

01:35:36

perfectly

01:35:38

flat they have to have a little Contour

01:35:41

to them so that's hardly any color there

01:35:46

maybe I'll put just a little more in

01:35:48

just because I think it'll be easier for

01:35:49

you to see on the screen

01:35:52

put a little bit more in there and and

01:35:54

you can see the highlight

01:35:56

left on the tooth

01:35:59

right

01:36:02

I know I didn't do her teeth right the

01:36:04

right shape she's going to kill me if

01:36:05

she sees this but

01:36:07

um

01:36:08

but it's because some of the pictures

01:36:09

missing and and I had a little bit more

01:36:12

space so I'm I'm inventing but I know I

01:36:15

did that wrong

01:36:16

uh

01:36:18

that's funny but the idea of how how to

01:36:22

do the teeth is there anyway so

01:36:27

I'm just lifting some of this off

01:36:29

because I don't want any hard lines

01:36:31

forming there

01:36:33

just keeping that soft and then I would

01:36:35

just come in to do any touch-ups so I'm

01:36:38

going to put in a little bit more

01:36:40

shading

01:36:42

right here because she's got that other

01:36:44

eyebrow coming in

01:36:46

and quickly rinse and blot

01:36:49

and soften this Edge

01:36:52

and I would just keep doing things like

01:36:55

that you know like does it need to be

01:36:56

darker I'll just oh sorry I just didn't

01:36:59

even realize I wasn't on screen but um

01:37:02

I would come in and and build up things

01:37:05

so I put in a little bit of color here

01:37:07

and then I

01:37:09

rinsed and blotted now how successful

01:37:12

you are probably depends a lot on how

01:37:15

observant you are really

01:37:18

um

01:37:19

advice about practicing before planning

01:37:21

oh you like that advice oh good okay yes

01:37:25

I often have people bring something to

01:37:28

class and they say

01:37:29

I'm gonna do this I'm gonna be a gift

01:37:31

for Christmas and I'm like oh no

01:37:35

oh no because you know as soon as that

01:37:37

happens that person

01:37:40

is not going to take any risks they're

01:37:44

not going to challenge themselves or try

01:37:47

anything different that makes them feel

01:37:49

uncomfortable and if you don't

01:37:50

what are you going to learn right you

01:37:53

you have to get outside of your comfort

01:37:55

zone to learn so

01:37:58

um I have gone well over my time here

01:38:00

but let me zoom out so we can see how I

01:38:03

did

01:38:04

uh

01:38:06

there we go that's what we have for

01:38:09

today's demo

01:38:10

we have her skin tones and

01:38:13

um

01:38:14

I didn't get into her clothing or

01:38:16

anything like that but it was just the

01:38:18

skin I wanted to finish anyway the the

01:38:20

facial features I could keep building

01:38:23

that up a little bit more and and so on

01:38:25

you know I can see I can see immediately

01:38:27

that you know some of these things need

01:38:29

to get pushed back a little bit with a

01:38:31

little more color

01:38:33

and you know I would just keep

01:38:36

at it until I get all those values just

01:38:38

the way I need them so it's kind of a

01:38:41

dark color there that sort of thing push

01:38:43

that back into a little bit more shadow

01:38:49

and so on and so I would build these

01:38:51

things up

01:38:53

uh

01:38:56

that little that little line there

01:38:59

that makes her look like she's smiling

01:39:01

right because that's that smile

01:39:03

uh when you get when you smile you

01:39:06

crease that little spot on your face

01:39:14

oh thank you

01:39:16

uh all right so I don't think I have any

01:39:20

other questions to be answered so we'll

01:39:23

wrap this one up and thank you very much

01:39:26

for joining if you liked it you know

01:39:27

what to do you give me a little thumbs

01:39:29

up there or

01:39:30

um put comments in the uh

01:39:33

below the video or share it I love that

01:39:36

so anyway uh we will wrap it up and say

01:39:39

have a great week

01:39:41

take care of your body bye

Description:

Let's paint skin, eyes, nose and mouth in watercolour 140lb cold press paper by Arches Biaelk squirrel hair brushes DaVinci Watercolor Speedball Color Wheel Palette Check out my full Zoom workshops for painting realistic watercolor https://shelleypriorart.com/zoom-workshops Shelley www.shelleyprior.com www.instagram.com/shelleypriorfineart www.facebook.com/shelleypriorfineart Shelley Prior Fine Art - YouTube

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