Alla prima oil painting

hello everybody Welcome to my channel let's paint a new portrait I want to show my brushes and and the colors okay I'm going to start using this set of brazer brushes I got number six 4 3 4 three and number one this one n 3 4 three the colors I got here are titanium white orange red uh kinon rose raw Umber and IV Black okay let's start sketching I'm going to start with I just the hair with raw umber [Music] okay not too much paint I want to just kind of frame the face just with darker value okay here I'm going to just so to be the [Music] face okay okay now I'm going to paint it the shadow the the next the Shadow and then the background okay hello Chris hello Clayton hello Michael hello hello lady hello RB welcome everybody okay hello Crystal I'm going to mix just uh on and white A Touch of red and a touch of Cam orange okay this color is going to be for the shadow okay oh thank you so much Jodi will williamon okay thank you for becoming a member of my channel you're going to get access to some recorded lessons from my patreon account okay thank you so much yeah hello n hello KC Oscar hello mariio hello haat hello Larry hello K okay I'm I'm going to pick up another brush I'm going to start just uh painting let's say a little bit of this one one value a little bit of another value and and color for example I'm going to mix this the same color okay just raw Umber and white with orange comeing red okay I'm going to put paint on the cheeks the check here that's reddish the eyelids and the chin okay now the nose going to draw a little bit of the other eye okay I can see a little bit of the face you know I can just do this to check out the lightning between one eye and the other okay the nose I always check out proportions remember just measure I relied on observation and relied on proportions okay from the eyebrows to the nose safe distance from the nose to the chin okay you're going to find that usually does kind of pretty accurate I mean not 100% accurate obviously from there we need to move the proportions but this a good beginning and that way we don't we don't guess that much we're going to place this and that you know we already know okay where to place the nose the bottom of the nose the eyes the same for for for example you split this in three portions and you place on top of this line the eyes if you do that on top of the photograph you measure you going to find that yeah it's pretty close Okay for the mouth you split this in two and you see the mouth here and again you're going to see that that's pretty close obviously you're going to see that maybe going to you're going to need to move the mouth up or down the same from the nose but that has to do with the likeness oh hello uh hello not na knit what's the background color I usually I tone my canvas down with acrylic I mix came orange and ultramarine blue with a lot of water it's pretty transparent you have hit me so much oh that's pretty nice that's pretty good yeah hello fon okay I got basically uh just couple of colors here okay kind of the same value when I mean the same value if I screen down my my eyes and see this this it's like I don't see a difference I see this a little bit lighter but I mean let's say that they have the same value because there's not too much difference between one and the other okay going to pick up another brush I'm going to paint the midtone here which I'm going to do I'm going to lay it up just this color with raw Umber little bit of red because this portion is a bit reddish okay about the brand that I'm using is rembrand uh I just the the white is just from Winton this is Winton and all of them are rbrand oh de a r brand okay A little bit of red not touch of orange more white painting the cheek and the nose a bit reddish and the chin okay I knock down the color again adding raw Umber and white just to work on the forehead keeping the reddish color here chain chain cheek and always the eyelids okay hello Bob hello Elan uh hello John you uses only colors or color with oil no just just uh directly from the tube not not medium hello Bob yeah but this thing about using uh any medium is that's optional okay it's it's not I mean it doesn't change anything about the painting process obviously if somebody wants to add a lot of paint thicker paint it's obviously better just to start with not medium but we can start with a lot of medium at the beginning and then just putting more more layers on top even when we paint a La Prima Just One session I mean it's not something that we got to just I mean I would say that there's not a specific order like obviously if everything is just like uh with little thicker paint you got a lot of thick paint you're not going to add some paint with any medium you got to continue adding more paint without any medium when I said that there's no specific order I was I was thinking is that you can start one day a painting with a lot of medium the other day just with no medium at all now the thing is that we got to get used to that sometimes you get used to use a medium Lin o for example that's pretty good okay you know I I have used a Lino mixed with troponoid with for years and that was for me like uh if I didn't have that I didn't feel so comfortable to paint you know I always H had to carry my medium everywhere I go now nowadays I don't use any medium and like like I said last week I don't even remember when I stopped using medium and yeah and it's not it's not like it's the next the next step on the painting Evolution or something like that no maybe next month next year I'm going to start using again L Doo who knows uh another another reason that why I could use Medi a medium that would be maybe if the canvas it's not good it's not I mean if I see the canvas is sucking too much I could use medium because that's the only way that's the only way to move the painting on the canvas but if some if somebody just is using or is asking about the medium because you're feeling like it's pretty difficult to move the paint on the canvas you know that means that you're not using the medium because of the properties of the medium it's itself like LD oil or anything it's just because you're not able to move the paint on the canvas that means that the canvas is is not good you need a new canvas in order to you know if the canvas is good you should be able to move the O your paint easily on the surface okay now you got that no if the question let's say if if usually when a beginner ask ask that question is because they have experienced uh some problems with how to move the P oil paint on the canvas and that doesn't have to do anything with uh just thinning down the oil paint because to take to take advantage let's say of a transparent pigment of anything like that for an ADV Advanced painter is is more like hey I want to just get the most of this transparent pigment I'm going to make it even more transparent just by thinning down the paint with any medium which is different you know you see the difference one thing is is about getting the best of a pigment and the other thing is just trying to move the oil paint on the surface remember we got to check out always the canvases because all the PRS about painting the people faces are because of the canvases and I said I have said this more than one you know that the first thing that we blame is just is just the the oil paints it's like no I mean this is no good quality this o paints are not for me I'm going to buy a different brand the next step is is blaming the brushes like no no no I need different brushes you know I'm going to use the same brushes that this guy is using because looks like for him it's kind of easy to move the paint but all the problems and I have said that so many times I repeat are because of the canvases okay now I'm not saying that but if let's say you going to save on materials I could say save on brushes okay you can buy cheaper brushes save even on on oil paints you shouldn't but let's say that but don't save on canvases okay because those those are the ones that you want to just make you feel that they're not so good when the process of painting I'm mixing black and white need more raw umber I I got a couple of raw umbers one is uh from rbrand and the other one is from Winton obviously the the this is the cheaper one I'm going to put it here just here okay I'm going to use it this for the background for the darker areas just to save my expensive oil paint for the face and this one from Winton is thicker I don't know if you can see the difference I mean it's not so and it's thicker and obviously it's you know it's not that transparent like the rbrand brand the rbrand is more transparent and at little bit more greenish which is pretty nice when you want to paint some greenish color grayish color on the skin like on this area which you're not going to get with this one okay I'm not saying that that's not a nice color yeah it's a nice color anyway but you're going to see the difference that we got to check out okay you got you got to just buy uh different brands and check out which one is the best but I got if you want to get that you want to get those grayish greenish skin color the Shadows use the raw umber from rbrand okay if you want some grayish color like a neutral gray like the one that you have in mind when you're thinking about mixing black and white and then all the sudden you mix black and white and you got a bluish gray you say oh my God this too bluish yeah that happens but you pick up this raw umber from Winton and you mix it with white you got a neutral gray that's pretty nice you know for me for my eyes this looks I don't know what you will see on your your on the screens but for me this is a really neutral gray and I can make it more even uh uh a little bit warmer if I just spread it out I thin out why because of my canvas obviously is orangey is and that orangey color is going to show through the layer [Music] okay you know the you free to ask me any question okay now I go back to the raw umber front rbrand look at that if I mix this ra umbre just with white just with white I'm going to get a nice color for the skin here for the Shadows okay just respect the reddish colors on the skin okay we cannot place this color everywhere but this works pretty good good for the Shadows this green grayish greenish Shadows on classical portraits and if you don't like it you add you can add a touch of orange and come in red to make it a little bit warmer but you got to check out you know it depends on on how dark is the portrait how light how what you planning to do okay maybe you want a more colorful skin color in that case I wouldn't use this ra umber with white I could add more orange and red or maybe we want somay a really grayish ski color yeah with some really pinky reddish accents on the nose cheeks you know cheeks chin and you know we I have seen so many portraits so many ways to paint the skin color and I think it's just up to anyone what what you want to do I'm not speaking about what we see on the on the picture okay is what we want to do one thing is what what we see on the picture one thing is you know what we want on our painting maybe what we want on the painting is based on just an accident because we painted and we got a color that we didn't expect to get but it looks pretty nice and we you we use it and we keep using that color or maybe just because we got a lot of experience and we already know what happens when we use one different pigment one day and another pigment another day and we know what we're going to get in terms of the skin color in terms of making the skin color grayish or more saturated like I said before it's up 21 it's the same for brushes I'm using this braer brushes because I want to you know lay down more paint thicker paint on my canvas but it doesn't mean that uh that I'm not going to be able to blend it here we can just if we a pick up a softer brush we're going to be able to blend it even if we have a lot of paint on the canvas hello EO hello Gary hello btor hello Mr surge helloin hello Nan what time is it there for you trying not to be late this evening oh here is 238 oh my God I made a mistake I got to put in I may me stick on Patron pretty sure I put it central time no no I'm going to change it now I'm going to just on patreon I'm going to put per Peru time from you know until I got because I got confused with this okay okay you think you okay I got this uh I already have a color for the shadow you see this grayish color okay remember you got the color like this when you mix raw umber White you can add a touch of Cam orange and a touch of Cam red but you got to use this raw umber from rbrand okay if you use the raw umber from Winton that's the only two I have here okay I got h i I have raw umber from Lucas I don't know where is the tube I would like to try it but at least you got information on those on those two Brands okay now obviously L uh you change it on some areas to make it more a bit warmer and you control that no this is if we add a little bit of a ler and greenson with white we keep this area kind kind of reddish but is it's not going to be like an orangey it's going to be more like a pinkier pinkish color not not pinky but being light but kind of a different reddish it change a different in a different way the temperature it's still warm but it's not it's not kind of orange now do you like this more or do you like it to add more orangey color again it's up 21 now speaking about things that are not on the photograph okay maybe on the photograph we we you see one color on the skin but we know when we study anatomy that on the skin color that there are areas where any face got more has more blood we can see that easily when we see somebody just uh crying and we see the reddish colors on the skin okay s say where are you from I'm from Peru South America na na nzen can I use oil color brushes for a click painting as well yeah yeah I mean the same brand but I could tell you just keep kind of a set for oil as set for acrylic because you know cleaning the brushes for using for one and the other I mean that that would be too much work but that's my opinion okay now I got this of course I got let's say i i m map out the pH in terms of values light shadow in terms of color reddish reddish reddish a bit Rish on the on the on the chin and the colors that I know that exist on any face not on the colors I see on the photograph on the photographs I see everything is more mute obviously if you don't like this we can just pick up ra umber white we try to find the right value and we paint on top and we going knock down we knock down the color okay okay and if you still think that no don't like it just more more paint when you when we we paint we basically we add more paint on top but if somebody has on a stage that you got the feeling that hey it's too much paint and not able to control it we can just wipe it off okay or if just a rock or paper tow or you know pet knife anything okay let me check out I'm going to step back I like it yeah now one thing I like this not in terms that that what I see on the photograph in terms of what I have here on my painting okay obviously I'm going to try to copy the likeness as much as possible let's see if I get it or not Hello exploring history hello KY Oscar saying yesterday I found your you YouTube randomly okay thank you so much s said don't have actual paint and canvas for now but I will try painting dig digitally first oh yeah yeah oh ni the same same brushes yeah you know what happened some somebody asked me once that he was able to use the same brushes for oil paint and then acrylics just cleaning the brushes you know cleaning out the brushes for oil the same using the same the same brushes and I said no I mean it's very juar one set the same brushes but you got two sets one set for yeah oil pains and one set for acrylics that's what I meant I'm going to pick up another brush here okay this one I'm going to mix raw umber T of black tou of uh kind of rows okay I'm going to use this as a pencil not too much paint I'm going to draw just a little bit and when I draw okay and just try to draw a little bit let's say here on one eye there's not too much the there and then I move to the other eye okay then I can move to the nose but could pick I could add a little bit more more coming red okay here's the nose now when I'm laying down one Mark here like this one and this one I'm thinking about the liment with the eye here for example with this to the left to the right imagine that you know you got to check out always left right this is a map and we always check out this again and again okay I I I squinting down my eyes to compare looks like everything is okay now for the mouth not too much paint okay I check out again this side of the mouth is aligned up with what pupil with the iris and the same for this area tear du and corner of the mouth the space between the eyes do you think I could fit one eye between the eyes that usually the measure you know between the eyes the distance between the eyes okay I got that step back I compare screen down my eyes okay I know that's not too much but that's better now I got more information on the face I got more details and I still is quinting down my eyes a lot in order to compare because I cannot compare this that is not completely done with the photograph that it has a lot of details again okay eyebrows eyebrows [Music] okay one eye the other eye okay yeah about the width of the face you know I'm going to narrow the face on this side he not yet I'm going to narrow the face here I just don't know how much but definitely going to do it okay I'm going to wait just a little bit okay now let's check out some shadows I'm going to use the same color uh I can see that a darker value here okay and obviously I see a darker value here okay [Music] okay let's see okay I'm going to blend a little bit no no uh first I'm going to add more light to the face I think I got too much uh I think the the uh the shadow is just too light can make the shadow a little bit darker yeah but no not yet I'm going to keep it just like that yet and not more light here okay okay okay okay okay hello syvia hello Sharon is saying in between please zo Zoom the picture Okay casy OS say not good with mixing colors any advis sir oh just painting that's the only way to to you know there are a lot of things that there not there is not uh nothing to to say it's just it's just getting experience and we got experience just by practicing hello Richard on Facebook hello Tarak hello Anna going to check out my messenger hello George hello Miriam hello Brenda hello Chris right rahu rahu saying hi from London Richard from swiland well pretty good hello Nina hello German okay yeah you know practice is the thing that is is kind of easy to say you mix black and uh something like yellow and blue and you got green yeah it's kind of we can even even see the colors on our mine now when we paint it's not as simple because the green is is not alone on the canvas in interacting with more color with more values and then we got to just pay attention to more things and on top of that we're starting to to discover that we got different GRE if we use a different blue it would use a different jellow and we got more and more options like we see that we got different green when we use Cobble blue when we use ceran blue when we use ultramarine blue theor blue bruss blue maybe we don't need that much okay maybe but it depends what you paint if somebody paint paints landscape pretty sure you know I could use maybe more more colors okay but it depends everything has to do with experience everything has to do with what you want because sometimes we can get a nice painting just with the with primary colors which are going to be yellow red and and blue let me see if this I think it's too light [Music] this okay let see more comments that's right oh my God Mr serch sorry I cannot read I can understand French but I'm going to try to uh I'm going to read the comment I'm going to translate the comment after I finish up the live stream I'm going to try to keep uh I'm going to try I'm going to just see what it is what's the question and answer you next week hello Polo hello m okay okay there's a color that I use a lot that I love is chrome green going GRE here need more white no here we going to decide about the light on the face we make it a bit warmer a bit cooler one thing that happens about the light if you want to make the light on the face glow you know it's going to Glow more always with a touch of jellow a warmer color is going to Glow more than a cool color okay on top of that it depends on on contrast how much contrast you're planning to do because if I just let's say make the background black you know dark really dark definitely it's going to make the the the light on the face glow a bit more if I just imagine that I don't paint the hair here I just paint the background the same value this different color same value you're not going to see contrast there okay that's up to anyone how much contrast we want on the painting okay let's see I'm going to blend a little bit oh hello chriso saying is transparent jellow better than opaque jellow or better like it depends you know for example for example let's see uh that I I do this here this is transparent Opa transparent okay it's just see the light you know obviously this glows a bit more why because transparent it's just because of that transparency is that hola Marita hola Mario now when you're going to use that where you're going to use that okay now unless you planning to paint something jellow and take advantage of the pigment but as soon as we mix the colors yeah some of them I'm going to lose the transparency some of them I'm going to keep them it depends on what you paint okay more we add more white it's more transparent it's less transparent paint now I want this I love it it's beautiful you know I love it but I need that on the painting okay what do you think I know I I think that for me now what I need more is maybe to have a sharp edge here okay to make the face pop than the transparency there okay and and that happens usually everywhere you're going to I mean I'm pretty sure you all have heard that we got to keep the transparency on the shadows and you know the lights are big transparency on the shadow that means using a something like this okay that would be pretty nice to keep on the face uh but that that works from some paintings and no not for I mean all the things that we hear they don't work for all the paintings okay we can make them work for all the paintings yeah yeah we can but that that means just changing more changing more what we paint from what we see on the picture I'm blending a little bit okay okay I want to add more color to the nose the same way I'm going to add more color to the lips for this is just black we mix black and white we got a bluish gray and that could work pretty good for the weight of the eyes obviously is not just that color okay the painting is wet here I already got a warmer color here that means that this gray black and white is getting mixed as soon as I lay down the paintt on the on the face and the result is not is not a pure let's say or more intense bluish gray it's something in between what the color that was here with you know uh the grayish the bluish grayish color okay uh going to to sharpen this Edge a bit more okay no this is black black and kind of create rows sharp edge again here okay okay uh I'm going to I'm going to switch to a different brush okay okay and I'm going to I thinking right now now about edges okay I got softness on the face I got light and Shadow got a little bit of color okay I can keep this sharp okay there and here I don't see this like as a sharp edge there and I soften this okay now more kind of G rose here let's see on the mouth I'm going to oh she has I see a little bit of teeth uh so difficult I'm going to just make the mouth close closed okay little bit of light there Shadow sorry right here just there okay I'm going to soften here I'm going to soften here okay okay let me think little bit of Cam red now the corner okay going to read the comments hello uh shock KY Oscar Mr H was saying in French I would like to know please if there there are any who speak speak French if so paint as R explains and and did you get there I think thank you in advance okay oh Chrystal is saying I want to ask you if you don't want finished the portrait today want to finish next week can you do that or you must finished today and what colors can can you use oh yeah try to finish up just today like that's what I do in every session yeah uh I would I I could just you know let it dry and continue next week I don't know I mean yeah maybe I don't know yeah sorry I don't know if I'm going to do that I just kind of love to you know do the best I can on each session and that's it that's it usually I don't touch the paintings after I finish up the paint the process let the painting dry I think I did uh couple of paintings just the way that you you're suggesting they are there on on on the on the channel I think it was like a year ago maybe a couple of years ago I remember there was a a painted uh oh I don't remember I think I I miss confusing those a couple of Port maybe I missc confusing the painting that I painted on Patron oh sorry yeah sorry sorry sorry maybe I'm going to keep this uh sharp edge here this portion I think uh makes more clear clear the separation between the nose the bridge of the nose and the eye I'm sharing just a thought okay I don't know for sure if I'm going to keep it I got to see if that if that works during the whole process now I like it you know speaking about this here but maybe to keep that I'm going to need to maybe add another sharp edge let's see here for example okay let's do it here okay I don't see this on the photograph by just trying to separate the nose from the cheek okay and it's not working okay maybe I can just here like this I see a little bit of the midton here that shows pretty clear the the Contour of the nose okay okay hello Nikki thank you okay hello Marina Crystal saying when when the colors dry you can work again you cannot work again yeah no no yeah you can let the painting dry and work on top yeah always always on oil paint you can add a lot of layers hello Muhammad hello Tina lot of layers let it dry and put more paint on top and more and more and more it's just like there is not limit there's no it's just when you see your painting and you say hey I'm done you're done now A La Prima is is for practicing is let's say when it's about learning learning I think is is pretty good to learn faster but that's what I think think I mean not maybe they are going to you're going to find different opinions okay uh now we get the best on each painting when we continue working on each painting for more and more days adjusting you know drawing values ages uh definitely this is just basically just uh I try to get the best know maybe if I put more time more sessions pretty sure the painting the painting could be better definitely yeah that happens with everything we put more time we got better results for me I enjoy this process I enjoy the challenge of trying try to finish up as much as possible of a portrait every time that I here on YouTube and every time that I'm just on a class on patreon I think each person kind of put it to to yourself your own challenges okay that's too dark okay no I thinking about ages okay like I starty doing here trying to B balance out soft and sharp edges here for example I can try to paint CHP edge here okay and a highlight okay one thing okay [Music] okay now here okay squinting checking you know I could try to um keep what I got here on this eye on thee on the on the right just like that I'm going to zoom in okay now you see that everything is kind of blurry yeah I got just this sharp edge here I can make it even sharper okay now the beauty of this thing about coning ages that I could get away with an eye of the delusion of an eye from the distance just with that sharp ede I mean that's not going to be enough you know but we have seen this a lot of times on museums how Masters just trying to you know how they get away with they tion of an eye with not too much deta I have seen that on rembrance paintings where I see one eye when I get closer it's just a couple of brush trokes an insinuation of an eye the same for uh for Sergent sergant paintings okay now it's up 21 how much detail you add sometimes a lot of detail is not enough sometimes okay okay going to pick up pure black I'm paint the pupil a little bit up there just there okay the same here okay I'm going to mix this white this black with kind of Rose sorry if I sometimes I misc confused the the colors and the names you know it just I'm thinking and thinking about the painting thinking about the process trying to capture that and speaking at the same time it sometimes I just my this there is some kind of disconnection between my my mouth my brain okay now if you see me that adding black and saying that I adding white you know that you know my brain my brain is just here with my my hand and all my mouth okay now things that I got to see if I I keep okay that I mentioned before this sharp edge here which I said at the at the very beginning as soon as I lay down the brush stroke I I thought oh this is pretty good because I see kind of a separation between you know the nose the bridge of the nose and the eye and I thought that was pretty good to make the nose pop up what I did next is I did the same here okay now I should keep it I still got to work on the on the on on the width of the face you know I was planning to narrow the face because I think but they're just waiting to compare more and more and more okay about the mouth it's the same the same that I did on the eyes I could do that on the mouth okay like for example here I can just kind of destroy the mouth on this area and here too to the point that I don't see any edge here okay I don't see an edge but I can see just the highlight and obviously nobody's going to say that that's not a mouth okay I'm going to mix black and white a lot of white just a touch of black to lay down some highlights on the lip I mean this is this when you mix black and white you get a like a light blue but gray is light blue and it could work pretty good as highlights on warmer areas why because there is a lot of contrast okay look at that this is just back and white and put it on nose it's going to work as a highlight it's a lot of white okay okay okay let let's think uh okay let's think I'm just thinking right now on scenting compare comparing see see like if one thing that I see on the photograph you screen down your eyes the mouth is pretty dark here okay now I obviously I'm copying the photograph but there are some things that maybe I'm not going to don't want to copy from the photograph things that are just going to create more transparency in my painting and not having this darker Shadows on the mouth like the photograph I think add some transparency to the face okay in the same way not having a lot of details add softness to my portrait hey you got to think you to keep you add a lot of details you keep softness or try to balance things out between softness and the tears oh thank you Bob Bob dingui for the coffee I got a coffee from Bob thank you so much okay now we all love the teror we want to see the teror because we think that's the best thing that we can do that's going to be that's how going to know make this paint look alive and sometimes it's not that not now I say that's not the same for every case everybody has to kind of find the right balance okay and and it's not like it's not like that's the goal for every painting every painting is different on some subjects we're going to love just painting paint a lot of details from sub some subjects we're going to love just getting everything pretty soft which add some kind of different atmosphere okay uh when when you try to keep something pretty soft in my case you got to just keep at the same time some really sharp edges even even maybe even sharper than than what you do on a regular painting why because that adds contrast okay like this for example this is really sharp okay now it's not like I'm just planning to make all the edge sharp I can just soften here a little bit okay that add contrast how sharp soft okay okay we could continue doing that even on the background okay I can just do this here look at that sharp sharp soft but here's a sharpness on the eye if do you think that if you think that works on your painting you can keep it it's up 21 is up 21 you know this balance is pretty tricky pretty difficult to control we don't want to end up with a lot of sharp edges because that's that I mean that that could kill the paint okay if you got a doubt between soft and sharp edges and I could say make everything soft lost it's going to look beautiful but the painting with sharp sharp edges everywhere it's not going to look nice it's not going to look it's you know no way we want we don't want that better to end up with a painting that looks kind of blurry that with a painting that it has a lot of definition everywhere okay now that's the goal on the process of painting we go the first step we take about representing what we see is just trying to copy every detail and that's good because we're training our eyes to copy that's what we do okay at some point we start making just these little changes is to get something different to get maybe a new interpretation to add some softness anything I I don't who knows what more and more things okay okay now I know what maybe the the what I'm saying is pretty tricky and I know that because I got the same advice when I was a student like my teacher telling me one of my teacher telling me hey you don't need a lot of details like represent everything and I was like no way I want to see everything I want to paint every tiny tiny little thing that I see on the face and the result when I step P that would they got a lot of sharp edges everywhere okay and every you know video for the last couple of years I speak always about ages ages ages ages we cannot say that enough because there something that's pretty tricky pretty difficult it takes sometimes to control the same way that it takes sometimes to control to to master drawing and we starting to master drawing then uh drawing the values and then the values I mean ages okay that's the usual usual process okay another thing I could do sharpen here this Edge a little bit too a little bit of red and add a little bit of light here let's see I mean again this this is something that I don't see on the photograph I'm doing this just to separate the nose from the face okay now do you think that's working all the things that you see here you see me doing here you can just apply to your painting yeah see you later alligator okay bye M oh okay I don't know how to say bye marry Nikki okay okay oh thank you ni I'm going to see some questions oh thank you mooki thank you L Mila the say bro you are best thisn dinosaur thank you J le le leafi thank you Aron okay oh by St by just thinking about okay I got to do the same that what I did with one eye to the other eye or you know because it looks like uh one eye is coming forward until the KN contrast and a sharp H and it pops I'm going to do the same on the other eye little bit of that I'm going to add a little bit of highlight not as bright as this highlight reflected light on the iris I don't see a reflected light on this Iris but I'm going to just paint it okay now pure black here okay just there okay don't paint with black all the way to the turu here's different okay you can paint with pure black just here where you see the eyelashes just there maybe a couple of eyelashes for okay [Music] okay little bit of green okay mhm okay the's see on the shadow oh too much orange too much Orange I want to read the comments on a second I'm just uh trying to get the volume there because I got the feeling that's too flat and I need some lights just I'm painting and keeping squinting down my eyes just to see that this Shadow is not getting too light and if it does I'm going to just need to paint again okay as it gets closer to the the men B you see I add more raw umber because I want to knock down the reddish color or warmer color on on this paint and even I could add a touch of black and paint the Contour of the face here okay now I'm going to blend a little bit okay I make this soft I can make this a bit sharp soft sharp soft okay sharp again and that's we basically how we create balance between edges okay I'm going to add a little bit of black and white I makes just gray okay don't forget that basically I'm mixing the colors here on the palette okay okay let see from the distance okay like it I like it I want to narrow narrow her face a bit more oh exploring history saying how do you how you develop so many techniques for a portrait painting sometimes you use BR or brush sometimes Fame brush sometimes others can you explain [Music] oh yeah okay it's not okay okay let me think about how to explain this because it's not about um the brush of the material I use or you know a different tool is it's just about uh always respecting you know values ages the drawing obviously in the first stage yeah always about that a tool is just a way to apply the the the color it could be acrylic it could be you know any other okay it's just like it does that doesn't change that much the painting you know sorry sorry one second I need to pay attention this I'm trying to speak explain and at the same time just one second okay okay when I'm trying to say it doesn't matter what you use and on my mindset is not about what I use OB obviously I got uh different effects when I use different brushes okay but the thing is that it's never about the brushes it's always about values about drawing first drawing then values or we checking the values are we checking the value scale or we checking that the light it looks like obviously light light and the shadow the same and I'm going over the same process of checking values again and again all the time and and keep adjusting the values you know like I'm doing right now I'm making this darker okay the more I see the more the more I I I I am into the process like an hour two hours the more able to see the difference between values and make Corrections like what I'm doing just right now here you know making this darker and here a little little bit darker too okay now it could I could add a bracer brush a f brush or any anything uh the application of the value the color doesn't have to do with the tool okay if I don't get the value it doesn't matter what tool I'm using I don't I'm not going to see volume let's say that this imagine that this paint is just really painterly like with loose brush Strokes a lot of them anyway it doesn't matter that was that bold in terms of brush Strokes that crazy if I don't respect the same principles that I do here about ages about drawing about values I don't think I could I could see something that I like on that paintting it's it's just uh obviously we got used to the materials we get comfortable using maybe Brer brushes or soft you know saber brushes that's that's just that's a matter of taste what you like if you like uh to paint and smooth out the surface a lot you're not going to pick up bra or brushes because that would be pretty difficult to get that effect with Vis brushes basically basically that conclusion I don't I don't pay attention that much to the brushes I use and I just trying to get the same it doesn't matter the the material or the tools always trying to get the same okay uh one thing that I see here for example speaking about what we see on the photograph and I think it's pretty nice to to make the face pop is the the background here you know this portion here and for that I could just uh sharpen an edge here around here then soften this okay A bit a bit sharper the same here for example that's darker I can just make it Sharp [Music] okay I'm going to narrow the face almost nothing but a little bit here and I think I got to do the same here here okay okay okay oh let's see I think I can make this h a little bit sharper we cannot make an the hair really sharp if we do this has to be Shar you got to make it sharper lost sharp lost in that way we keep the softness you know we keep the soft Edge if we make all this Edge sharp we add some hardness let me get hardness to the face to the frame of the face now here is the the thing that we all have to learn to control how much detail because here I can just start adding more and more detail I see that's pretty dark check out the photograph this is almost black no I'm choose choosing not to make it that dark okay now all the decis the decisions that we take you take on the painting are based on the whole painting is not it's not just that eye that you think I'm not going to make that eye darker because I want to keep softness and then you make the other eye just pretty sharp notice the balance between one and the other and the nose Okay the mouth all of them all the feature of the face are working together okay see from the distance again yeah you know what I think I got to darken up here I see too much light there and I got to work on the shape that they see here on the mouth and got to narrow her face a little bit how much that's tricky that's tricky how much Nikki seeing I bet R could paint with a hairbrush he didn't have anything else oh thank you okay [Music] uh Richard shur thank you Richard saying now I understand the difference from copy and interpretation yeah I got to say that sometimes I want to copy something exactly sometimes I want interpretation it's you know it's not the same for every painting and squinting down my eyes stepping back just I see that something is not okay and I think it has to do with uh the width of the phas you know some some something that we tend to do we will do that okay is just uh making any face that we paint a bit wider okay any face double check on that because it's just like a I don't know why I don't know why we we we tend to do that and it's just or brain saying like this has to do in this way it's the same way we try to you know make an interpretation when we try the about ages you know what ages are so difficult obviously because we don't see these things that I'm explaining about softening here you know look at how lost is this area you know sharpening that edge and we don't see the sharp and I'm making the sharp and a softening here and we see a detail here and just making that blurry It's Kind it's kind of when we work with ages it kind of we destroy you know a lot of things on the face a lot of details we don't see them anymore in order to get uh you know the contrast between soft edges and sharp edges and make that and help I mean make that help us with volume I'm trying to narrow the face just slowly slowly slowly it's pretty scary this okay now going up uh speaking about this tend the things that we see and we don't see uh I I want to complete the idea because uh I remember when I was a student and I wasn't able to to control this thing about ages you know and that's a challenge on every painting I'm not going to say that I'm fully control this thing about ages sometimes I got this effect in one painting I don't got it on the next painting you know that's but that's okay but the thing is that in order to work with ages it's just like we got to ignore what we see and just think about how the edges are going to make things receit and how a sharp edge a sharp edge is going to make you know things pop forward we know that in theory the thing is applying that okay I think that's better you know narrow the face I think it looks better maybe I going to need to narrow that a little bit more anyway the shadow here it doesn't look natural for okay don't forget uh please you like my painting press the like button a world pack Studio say are you going to open the mouth or leave it I'm going to just leave it like that with the mouth closed yeah use that two citizen Jo line off okay want to check out let check out the jaw line it's a little bit of maybe a lot for [Music] e okay let's see let read more comments okay exploring history I will try to do it my might be wood Dr saying everything is beautiful on her face but the lips make it are a little bit different where's your coffee link today oh the coffee link is on the description box we're going to put it here since looks like some people is willing to send me some coffee just wait for me please to find the link okay here's the coffee link oh the link the link for patreon I forgot the link for patreon no link for patreon no maybe I shouldn't place out too many links yeah okay you know okay okay okay what do you think I should narrow her face a bit more on both sides on the right on the left or maybe it's just the shuttle should I open open the mouth for you know the likeness for okay I think I got the nose I'm going to soften it here for oh so diffic difficult okay you want to keep this this area lost e okay okay uh what about this brush struck what do you think about that one the green brush struck h for okay let's see the comments hello Monique okay Nikki bye thank you for being here okay ch e for okay okay hello just K thank you uh n need oh no no this is white pencil no I'm using just um maybe this one just a brush I liner brush hello my okay I think I I made I made her face a bit more rounded maybe it has to do with the volume I mean volume I mean adding more light here maybe more light here it looks like the face looks rounded in the smaller areas not like not like wider even maybe wider I no I've been I've been narrowing in the face here I did it three times I don't know if I doing more of that I'm going to fix it maybe maybe just truck it up here a bit no I got the feeling that the face on the photograph is uh like she's more like kind of skinny on the photograph let's say and on my painting it's not like the face is wider it's just like inside this space everything is just more how do you how I don't know which word to juice but looks everything every portion it looks a bit rounded and I think that's affecting how how the face look looks okay but that's what I got today okay I'm about to rip it up for we just adding pure black okay to the edge just a little bit okay maybe some pure black here let see okay I like it I'm mixing black with kind Rose the same here okay I think just uh added an accent here an accent here here too on the edge here too and I think just that maybe a little bit to the background here okay I think that's it for today I try to control this thing about just as much as possible but I still got the feeling that you know I wasn't enough [Music] anyway okay okay that's it for today thank you so much everybody for being here I I hope you like it I hope you have learned something from from this demo and obviously just hope you all be able to use a little bit of these things that about ages and and color okay the Highlight is a little bit up just there okay thank you so much everybody and see you all next week for okay bye everybody bye everybody thank you so much and don't forget to press the like button before you go hello Jonas thank you see you all next week okay bye bye for okay but

Channel: Renso Art

Views: 14,379

Keywords: how to paint a portrait, painting portrait

Id: -M9NT-B94Hk

Length: 121min 45sec (7305 seconds)

Published: Fri Nov 17 2023