Cesar Santos “Secrets of Portrait Painting” **FREE LESSON VIEWING**

even streamline publishing publishers of fine art connoisseur plein air magazine and weekly newsletters fine art today realism today plein air today an American watercolor and events the plein air Convention and the figured of art convention we offer over 400 different art instruction tutorials in ultra high quality video by the world's leading artists if you like what you see help us support our artists and our team with your purchase each video air it has a special discount code for today only in the comment section with a link to the video offered and to see everything we do or if you want to receive notice of new releases new products and new events for artists simply click the other link which says see everything we do thank you hi there Eric Rhoads from fine art connoisseur and plein air magazine we're focusing on learning this is the time to learn I've got a great video for you today Cesar Santos and the secrets of portrait painting the story behind this is I asked Cesar to go copy a Bouguereau painting and learn everything he could about Bouguereau he studied it painted for months and months and months and then of course took what he is already known and applied it to this fabulous video I hope you enjoy this segment hi we're back on day two yesterday we did the drawing we went to the Dead coloring stage but now before I get started on my first painting my second day layers I'm gonna go over an article that was written by Lindsey Harkness it's called one Scene isn't necessarily believing and I think this is important it was written in a couple of a few years back and I think this is very important because we think that we can see stuff but we are not made to see as painters and in this article is interesting because they the were scientific elements involved with this article is not just artistic so that's why I think is important and what they did they did a study and they measured the light from the Sun the brightest you know which is the sunlight to the darkest from deep in a cave at night in nature they counted the intensity steps levels like a grayscale of light in nature and they counted ten billion intensity steps from that darkness inside the cave and night to the brightest of the Sun and they measured compare comparing the eye of the human how many steps we can judge as humans and when they measured the existing range in nature to our visual range they we they found that we can only discriminate 1000 intensity steps in those ten billion so if you think about it we're practically blind and how you know our biology can make that mistake but the thing is that nature solves it really in a very interesting way what it does is that every time you encounter a field of vision and you focus your eye in some place that those taus one 1000 steps divide themselves in that field of vision and then you adjust them so then you can see darker stuff and lighter stuff around your focal point for instance if you're late in the evening you're walking outside the Sun is getting everything is getting dark and you're looking inside a house inside a window everything looks like it's just a white thing inside but outside you're actually walking you can see the ground you can see some leaves you can see maybe an animal because you're 1,000 steps gradiation is divided in that field of vision now inside the house you couldn't see details do you see a white square in the window but the people inside the house are adapting their 1,000 steps to their environment that means that they can see details in there on the table on the plate a ceramic plate with the highlight honor and all those things you know you're capable seen just because you're dividing that 1000 steps that you have in that field of vision what I mean by this is if you're painting and you don't know this how you don't have control of this when you're painting and you look at the model and you focus let's say on the hair you look at the hair it's dark hair we can see if you focus right directly on the hair you will see highlights you can see a lot of highlights a lot of details but as a painter you cannot be painting that like that because if you look at the background and you see highlights darker lights then you see you look at the hair look at that then you look at the shadow see all these variations and your range of color is not 1000 steps like we have in nature so they're much more limited so if you if you don't group them together if you don't know this your painting is gonna be light and dark all over the place and that is when you don't see that dignity that elegance in a lot of painters that don't control these values so as an artist you have to say okay I know this is a biological problem that we have that we tend to look at an area and see lights and darks everywhere even if it's a black cloth or a white cloth so for that reason you have to force yourself to simplify those values and group the together especially at the beginning that's what I did in the last painting session I said okay the background is gonna be one value the hair one value the the light of the face one value and that means that I'm forcing myself I'm tricking my innate tendency to see all these variations when I'm painting someone pass by they see the forehead has been only one value and they say no but I see all these little things and the birthmark and the little pink on the side and the little green yes I know we see that but because of that factor we have to force ourselves to be to be very to simplify all these values so I think that's very important and let's keep it in mind throughout the whole painting process but that was specially important for this stage that we just completed okay okay so here's the palette I'm gonna be using for the first painting stage remember we did the drawing with the dead coloring stage I went through the palette that I use yesterday and this is for the second day it's our first painting stage meaning that today we're going to look at more subtleties in in color yesterday we were looking at values so we were not focusing that much into color we're just setting ourself up creating a nice kind of surface to paint on well that's today but one thing we're not doing today it's we're not gonna be rendering the form we're not gonna be describing texture we're just gonna be finding volume drawing and the right color so it's pretty much gonna be a mosaic effect kind of just like the patches of colors that describe the whole the head of the whole painting alright so this time as you see here we have a little bit more color than yesterday I'm gonna be explaining all these tints that I've created here but they all this might look kind of complicated but it really comes from these colors here and this black over here so first we have titanium white the one I mentioned yesterday this is Windsor and Newton Griffin arcade that is a fast-drying titanium white after that we have light red that is this color it's called light red it's made by Windsor Newton is the base for flesh after that we have yellow ochre pal it's a little bit my tubes are kind of used a lot soaps you know they're not pretty looking but it's yellow ochre / pale from Windsor Newton then after its raw umber also my raw umber comes from Windsor and Newton they kind of changed the design of the tubes recently so this is why it looks a little different than the other ones but it's a Rob after that we have Canyon red that's the brightest red you want to be using you have to be careful you don't want to use it too much in the flesh because it's really high chroma so Canyon red don't get Canyon red hue or any you know can you read you know taint or something like that because those tends to be of a low quality they sometimes are cheaper but be careful just get the Canyon red because it has a lot of pigments in it and it's a that's what you need now the way I select brands is first because that's how I learned at the Angel Academy so I kind of get used to what you learn to do but also for instance if you I don't have an example here but if you have some people like the Canyon red from all Holland for instance which is more expensive than this brand but not always the price it tells you about the quality or the you know the best choice to choose a color for instance this red where if I asked you where were you need this type of of bright red in the shadows or more in the lights you probably say in the lights well that's correct in the lights because it's a very bright color bright red so it's most useful in the light so what do you want the red to do to be a lighter value so this red for what it is is a lighter value than the old Holland Canyon bread which comes a little darker and maybe has more pigments in it maybe it's better quality but just because it's darker is not serving me what I need it for that's how I choose like if I if I'm if I need a yellow also yellow is something we use in the lights so if it comes out of the tube in a lighter version then I I tend to pick that one our next color it's ultramarine blue this comes from ol Holland makes this tube so I rather use this ultramarine from old Holland because he has a lot more pigmentation in it is more stronger so that is that color and then the green I use is Terra vert so this green is this color over here following that I have Mars brown now Mars brown is from old Holland so the blue was from Mulholland and this Mars brown is from Mulholland you can make this very similar to this color by mixing what we mix in the shadows yesterday which was this raw umber and light red and a little bit of white makes kind of a similar to that but I kind of like it out of the tube because it has a little bit more punch to it so stronger plus is there I don't have to mix it after that Mars Brown I have Indian red also from Windsor Newton Indian red I put it next to the black because I'm not gonna be mixing it in the lights this color it's not like the other Reds light red is a good base for the flesh but Indian red it's not so is I just use it it has a lot of tinting power so I put it next to the black just to increase the chroma in the darks to have like warmer darks and lastly we have ivory black ivory black is the same as my my titanium white it comes from Windsor Newton it's a Griffin arcade and it's a fast drying fast drying ivory black because normally whites and blacks are pretty slow dryers especially especially ivory black so I want to make sure it dries fast today too because I'm gonna do this demo in three consecutive days I cannot afford to come here and have a wet surface now as you can see here I have shown you what I are the colors that I'll be using for the flesh now the blue and the green I won't use I just put them here because I realized that the hairpiece that I'm painting has different colors so I just have them I have these two colors there to kind of reference to that and do that part but mostly I'm just going to be using from the white here to the red and a little bit of the of the dark here the black and the Indian red but not these two colors okay so all the mixtures here are gonna are gonna be out of the same thing we say yesterday white if you're mixing a light color it's better if you bring the white first some people know that the the mixture is let's say light red and white and you start getting light red and then getting white no be organized about it bring white first because it's lighter and then add to that white color until you get what you want that way you don't have a bunch of color that you're not gonna be using so in this case I put the white light red and a little bit of yellow mix it up to a nice flash and just observe your flash or the models flash you know look at your look at your hands and see how close it is to it you know study it we do that with still lives you kind of go up and match the color you can do that with flesh the thing is that we flesh is that we're not a mannequin it's now one color that you can mix for that it's a bunch of different hues and temperatures playing together but that's why we have a variation here of tints and tint it's just a time I mean you look it up but since it's a term to have white introduced into a color so it thinks that down it's a it's different that a than a shade which is more adding black to a color okay so all this if you see the important thing is that you control the chroma the lightest thing has hi chroma and as I go down in value I lower a little bit the chroma lower lower onto I have I pretty much kind of a gray towards the end so I decided to do these five mixtures here and this would go from the lights kind of to the darkest half tones remember my shadow it's over here and that was made from raw umber light red and a little bit of white that was my base for my shadows now here I have makes premix also some things a little bit darker just to be remember you want to have the play between the high chromis and the cool and the low chroma surround it I decided to have a base of flesh this color was made also same white adding light red to it and a little bit of yellow to a little darker value than this you see the only difference is that I here this color is lower chroma than this so it works for my scaling down but that would work just if it was a mannequin or something beige but since this flesh I want to have kind of like a higher chroma and a little bit darker than this just to see a variation and see where I can put it I have an a cool color next to it a little bit darker but not so much but just very much cooler like the difference between value is not as much as a difference in hue this view say is more like a greenish like a grey and this is more again oranjee color pink and then I have a darker higher chroma again kind of like the SEC if this was one in in color in hue then this color has same base white light red and instead of adding this yellow which is light I use another type of yellow which is raw umber we went through it yesterday is in the yellow family because if it's mixed with the blue it makes a greenish color so then I add raw umber to it to darken it and have a higher chroma then I have a version of that you see this to here it's kind of like if this is this - this is as this - that meaning high chroma value number three I'm gonna explain the values now since I'm talking about it for instance this you don't want to have even the highlights in the flesh have some color you don't want never had want to have a pure white on the flesh or close to it the flesh is going to look light because you're gonna put dark around it so if you if you look at the scale let me put it like this if you look at the scale here we can see that this starts from a kind of like a number four then five six and you don't want to you don't want to use the black because the black is all the way over here so you want to keep it in the range between seven and four seven and three kind of range okay and if you see the variation of values in this second section of premix colors that is a little bit more close together closer family so we see let's say this one is about this one is of value for you see if we put au and the value scale I'm using goes from one pure white to nine from one which is to nine which is black I'll choose nine and that time why because I can get a middle tone tone which is exactly in the middle so we have one two three four to the side and one two three four to that side so I know that five will be my exact middle value there okay so when I get close to my teens I see the five is a little darker maybe shadow is gonna pull like this so I can see the five is a little darker then this stint over here and force a little bit closer you see three it's a little bit lighter so four then when we go to the second one it's just five so this for the jump from here to here is one is one value a range difference then here you can see that is light so that's a number six you see what I'm saying so this color is a number six and it's a high chroma and the first color is a number four and it's higher chroma so these to go to their versions of grace so from here to here and from here to here we can see that we went from a 6 to a 7 there then I have makes one just before the shadow just this color is just gonna be used right towards the edge between the shadow and the darkest lights okay now these things that I have here I've created a version of this Pinker for like you know around the face and the nose places that I see as warmer they have more blood in them so they become Pinker and now this color is pretty much the same flesh color so the base you get the white light red yellow and then add to this can you read and that's how you increase the chroma make it more paper and Pinker redder and then we do the same thing and do a darker version because on one side of a face closer to the light is gonna be higher chroma and lighter and then next to it on the other side you don't want to use the same color because it's too light remember we're talking about a surface that is round and you want to make sure that in in context they look pink so what you do is you make the same value as your darkest light and you make you put kind of red to it to make it Pinker and then I just have a really high chroma dark here that is made out of black and Indian red remember Indian red you know mixing any of the lights just use it to increase the chroma of the darks and that's what these two are about and finally what I did here was I just added white to the black and did three mixtures of gray remember if you want to gray any of these colors if you're mixing any flash color and you want to gray it down don't bring the black immediately because you're not gonna know how is going to change the value of it so make sure you premix a gray the same value that you need it and you add it into it okay it's pretty much common sense none of this is like you know rocket science really and the medium the medium I'm using for this stage for the first painting stage has more oil of course yesterday we didn't use oil at all other than the oil that comes in the tubes with the paint but today I'm gonna have I need a little bit more substance in the medium and I'm using cold pressed linseed oil with a little bit of turpentine and that is about less than one to one just put a little bit less than than the same amount you put of oil I really don't measure exactly I just know that you know if I put one amount of linseed oil I put a little bit less of that same amount of turpentine into it okay and you have noticed that I have a palette that I hold I'd rather have a pallet to carry with me because I've tried painting from a table and it feels detached to me when I go reach to get the colors and this way I can have my colors with me I can look at them in different lighting conditions just by moving around and shifting it and plus I feel more connected to it when I'm grabbing it and putting it on my on my on my canvas and plus it looks sexy so let's get to painting this is gonna be the first painting stage okay so the first thing we do now we have set the model I'm looking at my painting my paint is totally dry so that's good after a day of work everything is perfectly good base to be painted upon that's what you want you don't want to be painting on wet paint it becomes very uncomfortable and it mixes with the under layers so make sure for this type of system that the layer underneath is totally dry you know before you you go and add some paint on top the first thing I do and I take advantage of this as much as I can because I have a fresh eye and I immediately saw a lot of things that need attention because yesterday as I was drawing and then painting I lost some drawings or and now I have more reference everything is in context so I can see errors I even did while drawing I couldn't pick up at that time so always it's a priority to look at the proportions and go back and go back and keep fixing them because that is what is gonna be the most important thing and what is gonna be appreciated if those things are in the right place you will be able to enjoy the colors and the transitions of tones etc so looking at hair now see a few things and the for the way I'm going to approach it is that I'm gonna go and fix those things mark those things instead of going and saying okay let me render and paint and while I'm there I fix it up no I'm gonna go a little bit bold about it and make some marks on it kind of drawing again so that I can have a better experience at my first painting stage I see that this here can be higher up I'm gonna exaggerate the the height of the shoulder and of course with that comes adjusting the height of the of the edge the boundary here of the blouse bringing that up and that will give me a better gesture because if if this is too much the same level it's kind of boring you want to make a little bit of a twist symmetry there so it becomes more interesting the play with painting is that you have to make kind of like a game between between unity and and balance and anomaly bringing things that contrasts each other and at the same time putting things that work good together and in between those two things this what gives movement and interest to the work and I kind of can come back and and perfect it later but for now I just want it before I forget if I see it I just mark it so that's about the height I wanna have that also here this is gonna be the height and here I feel that I can have my neck inside a little bit more to have more gesture also with the curvature of her posts of her you know gaze is gonna have a better strength if if I make that curve a little bit more so I'm gonna make a little bit of background color which is just black and a little of white and I'm gonna increase the gesture there and now of course this distance because of that movement of shape don't worry if this looks like uneven I'm gonna paint all over the whole thing again so I'm just correcting shapes and and then I'm gonna move the blouse inside okay so we have to kind of attended to those differences there I also see and I get a smaller brush for this because there's a smaller change the ears now allied in aligning them and seeing them a little bit more I can raise them up tiny bit so raise that one up a little bit and this one here I remember every every time you see something that needs change if you fix it up that causes something else to shift because everything was kind of working together as it was so if you want to improve upon it and I do that now the ear has become shorter from the bottom but then it's shorter so you make sure you add to the top of it so everything you move at this point will have an effect on the things around but that's fine okay and then I realize also that the the jaw can go down bit more so I'm gonna have the bottom of the head move down a little bit so pretty much I'm drawing with paint that's why you shouldn't detach drawing from painting as much because it really it's independent from the materials you're using you're just drawing is the attitude of of delineation and representation of things okay so now I know that that's gonna be the bottom of my head there this the mouth I want to move a little bit that way now if this will be the center of the head going like that I feel that this section of the mouth should be shorter than this just because of perspective is going backwards and now I'm looking that I see that this part here is kind of longer than this so I just want to move my mouth I mean her mouth inside a little bit okay so that we took away from that it's out a little bit more to this side and maybe a little and that also changed how the center was so we have to move that center a little bit more towards the left so basically with first painting you want to get more of the resemblance of the cedar and and after you get that you add more information to it it's building up on top of what you did yesterday and if you see things that have changed in her that you kind of want to incorporate that you like to better design wise and yes then the previous day add it you know just change it up I think I did a little bit too much so you want to keep those edges of the lips soft make a very strong division there okay so we have to keep looking around and seeing how what else can we fix we have raised this we looked around here and of course this is not I'm just fixing shapes now I'm not going to that's just a little bit before my my attitude with with first painting just before first painting I'm just correcting colors I mean correcting shapes and adding a little bit more color because now my palette is full but just before that I have to keep forcing myself and see how I can fix stuff I see some little things in the nose that I miss yesterday the shadow design here is better if I and look at it closer see the notes a little bit thicker than what I had so let me just add a little bit to it under the nose there we see a lot of chromatic chroma there so make sure you don't become timid about it if you see places small places with high chroma put them because those accents are gonna give life to the painting the whole face will be a play of high chroma versus low chroma and sharpness versus softness so the edge is some edges you want to crisp up a little bit some edge you want to be kind of lost some colors you want to be great some colors you want to be up you don't want to be in between those things where all the edges kind of the same and all the colors are kind of the same because you're gonna lack that power the punch the nostrils is a good place to put some chroma really dark or the really warm inside okay and the reason I think it's good to divide these stages is that yesterday we weren't a little bit bolder about it we win kind of like added we wanted to we had the drawing down so we were confident about that and we wanted to fill up fill in the space kind of as quickly as possible of course not you know but as quick because you just wanted to see everything in context and not be influenced by the color of the canvas but today is a different day and it's better if we approach this with more attention a little bit more careful Ness and not so like crazy like we were yesterday so make sure there's time for everything and first painting is it trying to be precise and tomorrow is going to be more precise so that's how we divide our our stages okay I'm happy with the shapes now for the nose let's look around what else okay I see the eyes I was looking at it earlier can be higher up a little bit because I'm looking at the distance between the eyebrows and here and I see a lot a lot of distance here so maybe this can go come down a little bit more the hairline come down but I think in proportion to this the eyebrows are pretty in a good location here and this distance between the top of the eye and the eyebrow the eyelid there see it a little bit too wide so I when I see a problem like that I kind of analyze it first and not go out and say oh yeah you know it's bigger and go and make it smaller no it's better to analyze what is gonna be of most importance so first I'm gonna lower the hairline there so of course you first fix the shape then attend to the to the edges if you have a hard edge that increases the optical illusion of contrast so it looks like more contrast if you have a division between two values that that is divided by a harder edge so if there are two ways to decrease that contrast is one of them is by softening the edge and the other thing is by getting the values closer together so you can play with that idea of having either getting the values closer together or decrease the contrast or having the edge in the middle softer so the same way you can see it in the opposite way you can see two areas and and say they look if you want to increase the contrast you can just sharpen the edge and that would increase it make the values look a little bit more exaggerated the lighter will look lighter the light will loo look lighter and the dark will seem darker just because that edge is sharp and if you see I'm getting the little very little medium for this I haven't even I think it's the first time I kind of dip it in in the oil I don't need it yet you only use the medium if you really need it if you feel that something is uncomfortable about painting you need it to be a little bit more to run a little bit better then you add it but it's better if you stay away from mediums I thought that I bro there was a little bit too high up so let me again we see some variations there but we don't want to get too caught up in doing little things like that yet it's better to improve upon the bigger problems I think I think we can race this up a little bit my look we're at first because it was a way you're changing the drawing things look strange because I used to work together like that but so you have to give it a second working around and kind of fix it up so don't judge me too soon this area and the ice is really warm so I'm just fixing it with the closest color to to the to the area I'm working on so even though you're thinking of shapes you still want to get something closer so it's not so um you know different from what you need okay so now I erase that I up a little bit I need to raise the other one and don't forget the eyelids the lower eyelid is always visible make sure it's visible where it is and all the secrets really to painting it's in front of you there is nothing you know how do you paint an eye well look at the eye and study it and see the forms and the on the colors and the shift of views and try to describe it I know it's a little you know it's difficult but but it's not a trick it's not you know some is to think before going to the to the angel Academy that they're going to show me this magic trick how to make eyes and flesh and stuff but it's not like that it's really it's all based on principles but all the secrets are really in front of you just pay attention to the model and I say I'm not I just want to put a little highlight there because I see it but also it serves me to to look at the values and the distance so I raced up the whole I if you saw I started from the from the lowering a little bit fixing on the eyebrow if I see a problem with the eye and sometimes most of the time we have problems around that area because it's something people look at when you look at someone you look at the straight in the eyes so in paintings it's a difficult area because is the mods the most judge area so if I realized that there was something wrong with the eye that had there before going for it and I explained it before but let me say it again in a different way before going for it it's better to fix around it you know looked at the mouth looked at the nose then fixed the forehead a little bit then the eyebrows so you kind of like go around and get closer to the problem but if you go try fixing it from the beginning you might make wrong decisions because you don't know that it was something else making it look bad so first you want to go around it then you say okay now I can fix it and that's the most effective way to approach it I think okay so now the other eye let's go here make sure and one of the reasons to have the premix colors is that I don't have to be thinking too much when I am mixing now to fix that thing imagine I'm already concerned about those problems of drawing problems and values and colors imagine if now after that I go and look at my palette and I have to make that color from scratch I'm just doing work more problem for me to be dealing with so it's better if I just kind of solve one problem I have in control and I have my instrument tuned to what I'm gonna be working with so then I can just focus in this and that way we have a more you know pleasant experience so imagine if yesterday we did we put more details on all this stuff it would have been either too depressing to change it now because you kind of realize that you have to you waste your time or you you know you just don't want to do it because you kind of did it yesterday so that's why it's better to be simple at first because if you have to change something you don't regret working on it you know too much in the first the first time you did it so it's better to be simple at first so when you change things it's easier on you so now I'm not feeling bad for kind of moving this stuff around this little intricate shapes require a lot of attention and and time really you you can add afford to be simple and quick about it you have to really study how everything moves around and if it takes you longer just you know it's worth it because it's that's the expression of the city and after a while if you see that something is not working you're still still don't find what it is just take a break and look around and say okay maybe I can bring this up a little bit and attend to other areas maybe you'll come back to it and see it and that scale is so small that with this brush you can easily make make a mistake and move it around but you don't want to get something smaller because that's minut the big the bigger the change the better at first you just want to make sure everything's working out without having to go into smaller areas then we might get a smaller brush but for now they have to get work just with this sized brush okay so after I kind of I'm pretty happy with the quick drawings that I changed around here but even to be more sure that those things are working I'm gonna think now more of color and I'm going to add more precise values and colors to this to the eyes just to make sure they're fine the top part of the eyelid it's it's darker because it's casting that shadow from the upper eyelid and the bottom part has more chroma in it because light is bouncing on the bottom there and in first painting all you need is the simple impression with a correct value shape and color but not so much rendering so tomorrow I'm going to be more precise about that but for now a more simple way you can see the warmth inside those folds on the eyelids there in the same thing that happened to that the white of the eye has to be darker on top and gray because it's casting the shadow from the upper eyelid and towards the center it becomes a little bit more higher chroma and then we get the highlight and incorporated there to make sure that is looking okay okay so we go back and I see that this is a little darker here so I go ahead and put it that's the eyebrow a shadow there under the the bone of the eye socket there so it's kind of curbing in and getting casting a shadow and the eyebrows I should stay soft because that's just kind of hair going around from the inside of the eye sockets there in the bone it goes and goes upwards okay so we go back to these I making sure also that have better color a couple of touches of higher chroma in the bottom there because light is reaching that area more than the upper part so up here is darker and down here it's just lighter more chromatic and all I'm saying I'm all I'm doing here is setting myself up for a better experience of painting tomorrow that's why it's indirect approach its blocky you can see it's just trying to achieve the right impression but really we're gonna take that those nuances tomorrow to the next level when we paint more for the to describe the texture and to take that realism to to the high level anybody can start a painting the problem is to finish it with with detail and not lose the broadness of it that's why I think you should practice taking paintings to a high level finish even if it's that you're it's not what you want in life even sergeant in his early paintings started with more attention and more precision and that gave him the ability that when he was more mature decided to be more bold about it and and you see that the the beauty of his brush strokes is that control that he has is that clumsiness or being aggressive or crazy about it it's actually done with a lot of precision I wanted to mention that the professional artist is always a student but us as a more mature artist you're not only a student so you study things with a purpose rather than when you're just going to school you're absorbing everything and everything is being taught to you it's important and it's new so and after school when you become you keep being a student you never stop learning right but the studies change direction now you do study on purpose for a specific thing that you want to learn instead of learning whatever is being presented to you in this case when I I have referenced yesterday I showed things that you can have around you that might be helpful for instance the the head with planes or the skull in the same position as the model the photography if a photo of a model in that same position so you can compare how the camera interpreted that field in front of it and and of course it doesn't the photo doesn't show the volume as well as you can do because you can conceptualize it to make it look more real more three-dimensional so in preparation for this portrait I did a study of a copy of a Bouguereau specifically to learn the value range within the head the face and if you can see when we look at this portrait we see the lights have higher chroma and as they turn towards the shadow they become cooler and then the shadow is warm so I just wanted to study that specifically how that movement of hue and value happening in that in that particular portrait so that I can apply it to my to my model here I think it's important to do a lot of copies that's why it's it's a must that you have a sketchbook and do this type of things I mean you can do it without a sketchbook to but copying master works this is a must if you want to get good because this will be the bridge between the paintings in the museum and your own work and your studio if I take my sketchbook around and I go up to the real painting in a museum and compare it and it's pretty good then I can just compare it in my studio to my my painting and I can relate then my painting to the master paintings at the Museum so that's why it is so it's kind of like a bridge a communication between these works from the past so in this case if you see out of in context these colors compared to the white here are very dark the hair is really dark and that's making our lights look lighter but if you look I so late isolated here this is all the colors I'm using for my portrait here this here is the lightest value and that's the general color for all these lights area and you can see compared to the white of the paper is pretty dark if you don't control this when you're mixing the paint in your palette it might look too dark to you and say no no that's way too dark it's not looking realistically you know it's not looking correct so let me just light her up and I see a lot of portraits having that problem you keep adding light to it because we are used to looking at screens and and a lot of light and the pictures come out too bleached out and we forget to have the correct value to it so I just I'm just showing you this because for me it was a interesting discovery that these colors are very dark compared to the white but as soon as you have them in the face in context they look okay and I have to be aware of that so when I'm painting here and mixing my colors on my palette I am I know that that's okay I kind of trust it because it did work here but it requires a lot of study in the museum's okay so let's get back to painting okay so now we are ready to continue first painting we did some adjustments we just finish looking around and fixing major things that needed to be attended to fix before we continue but now our goal is to kind of in a block away put put the right color in the right place and the same thing with it yesterday I start with the darks because the canvas was pretty light so if I add if I keep it like this it's probably gonna influence the way I judge my light so we want to make sure those darks are the right value now before I continue to my lights so now I'm going to go and work on the darks first my darkest darks and if you can see the model the darkest areas are the shadow of the hair it's important that when you look at what you're gonna paint your model you find the lightest place and the darkest place first so you know that range that's gonna be your limit and then your work in between those extreme values getting a little bit of the cold press billing seed oil and what I'm putting here is the mixture of ivory black and a touch of Indian red and you can see how darker it is compared to what I had so if I wouldn't have done the darks first I probably misjudge the lights I tend to be thinner in the darks that in the lights that way if you need variety that tendency comes from necessity back in the days the darks covered pretty much the surface when you painted on but the lights we didn't have titanium white until recently 100 and so years ago but before they used to have lead white and that was transparent so to get the lights to achieve the lights in the light areas you needed to add a lot of white because that was more transparent so out of a practical reason the lights became more with impasse toes and then the shadows didn't need to be didn't need to have as much of a body to them because they can cover pretty good the area so but now we realize that it looks good too to have a difference in in strength and in in volume so we kind of do that even though with titanium white you can be pretty thin in the lights and and achieve the light that you need but still looks good to having passed those in the lights and transparencies in the darks if you notice I'm grabbing my brush pretty far away from the tip of it you don't want to draw with it like this you don't want to do this if you're doing a broad mass yes if you are doing a detail from back here you have less control but in this case it's better to be away from it so you can see really where you're pointing before we had a general body for the hair complete mass of the hair but now we become more specific about the value so we think that darkness now we're gonna make some variations in the darks now is it time to do it if we if we would have done it yesterday right out of after the drawing ninety-nine percent of the time or a hundred percent of time you're gonna have it wrong because this is just impossible to judge I'm running out of this mixture here so let me go and get if you can see this is my premix call it dark shade and that is this mixture mixture between the ivory black and Indian red and just so you can know how I got to that I get ivory black Indian red touch and add it and it's the same color it's the same color that makes the only difference is that I don't want to mix it because I might need these two colors like this soon so I just rather have my premix here that way I don't use these two colors because I might I want to use that ivory black for the background and everything so that's why I just pray instead of mixing it I got the the premix tube and that way also I'm more a constant with the with the color and I see now that this is always gonna change in shape but for the composition I feel that if this is going around I'm creating a spiral around her by having the hairpiece pointing that way and then you that throws your eye to come around the painting and when you find this place it directs you to kind of go up again and enjoy her face so I decided to do that instead of looking how it is now and having it more pointing down it would have like an exit point from there so I I analyzed that I look at it a my thinking process is no I like it like this because it goes like that it throws me back up with the line of the neck and then again with the hair piece so these are decisions that you have to make as an artist when you're painting to make it more interesting that engages the viewer and then they might like your painting more than another one next to it in the in an exhibition or something and they don't know why they say I don't know why but I love the poor Teresa life and those are little things that you decide that makes it more intriguing and interesting to the eye as I'm painting the hair putting more information there I'm looking at the form of the head of the hair this part is darker because it folds inside there's a mass of the hair here so it goes outside then inside so this is darker where where it meets the forehead there because it goes around so make sure that when you're painting that you don't say his hair let make it dark and highlights make sure you first understand the form before you decide where to put the lights and the darks it's always good to not just paint just to paint it's better to think about it and then when you put a mark it becomes more efficient you know I haven't if you have seen me paint I haven't just gonna go ahead and paint around and hope for it to get good I just make decisions and go for it and if it's wrong I fix it so it's just a kind of problem-solving added to it instead of saying I'm gonna be painting today just going for it okay so now that I have the hair kind of with the right values deciding more or less on the shapes I can go ahead and soften the edges a little bit hair is soft so it's a good idea to have it exaggerate the the edges because remember when I was saying yes before if you focus in the edge here the boundary of the head it looks sharper when you focus that's we're made to do that just force yourself to exaggerate a little bit so that there is a difference between the edge of the hair and the edge of for instance I don't know the flesh here in the bottom you want to you want to have that feel different so that there is a bone here doing pressure rather than just soft material against the background now we can go to the shadow in the flesh and then we treat the lights afterwards and I'm changing brushes because I'm changing material now when I look at my model and I look at this contrast now I know that my darkest darks was around this hair here and he can even be darker tomorrow I can come back when this is dry and add a little bit of more depth to that shadow layer but for now that's that's good and I see a lot of contrast here in here see a little bit less so I want to see what do I do I can soften the edge and keep this the same value or I can darken this a little bit and I think I can go ahead and get rid of my shadow and back in a little bit more you don't want to go to dark in bringing some raw umber next to my shadow here so in case I need to darken it I just have it here now the ear is right next to it so right now there's a flat surface right because it's a canvas and the ear since I put this dark here it's in between the darkest piece here and hair and my shadow so how do I make it so that it looks to the viewer as if the ear is back a couple of cent inches backing in towards their hair there so that and also warmer normally warm colors tend to come forward and cool recede so in this case it's tricky because the ear is warmer but it has to stay in the back so how do we do it we close the values so that it looks darker then how we see it and that way and by softening the edge we also make it appear further remember things further from us tend to be softer if you look at a landscape things that are close to you they look more contrasty and sharper things in the back you know look fuzzy and soft the same idea here the same principles if you want the ear to recede make sure you do a softer if you focus on the ear in nature it will look sharp because there is a division there so just make sure you exaggerate it to a good level that if receives it's good to have this the right side of the of the painting dry so you can put your pinky there if you need control to paint on a small area you want to have a nice support I don't like using a small stick because it's like in the way you have to carry it so I just put my pinky here and use it as a kind of support but I guess you you know that's up to you too even when it's wet I put my pinky there and then I just clean it up but I ended up having all these marks and even in small areas like this you want to be aware of how the light is affecting it the top part of the ear is a little darker because it's it's kind of leaning that way so it's away from the light and then the bottom part kind of folds upward a little bit and that's getting more light so even at that small scare you want to understand what's happening so that it's believable a good way to soften an edge you can do kind of like zigzagging around so it goes in and out blending both colors and it's also a good idea to have both colors wet so when you touch the edge they kind of merge together if you have an area that is dry it's harder to do it because it's kind of glazing if you pull a color into a dry area it's gonna have a different effect because it's gonna spread it thinner so it becomes warmer or cooler depending on depending on the value but it's a good idea to have both colors wet so you can kind of have a better experience something we have to be careful also for instance I'm painting this area here and I even if I put the right the same color right I get the same shadow color and I put it from here all the way to the edge the illusion the it looks like if it was lighter towards the edge just because it's near this dark here and here it looks darker because it's close to a light area so even for instance in this area here the it probably looks like this side is lighter than the inside but it's not it's the same color just going across it's just an optical illusion so to solve that is that if that is kind of bothering you even though that's the same effect in nature because we do that it's more contrast to here so it looks lighter and here it looks darker by contrast to avoid that you just get some dark and add it just to the edge here so that it looks like that's going back it's going back from here and then to to the edge there and before you put any reflected light in the shadow first have a clean a clean note one value and then add it because if you put it from the beginning he might look like you may exaggerate it I chose to paint on a smooth canvas because I like to have my brushstroke showing and the thicker the weave of the canvas there the more exaggerated you have to be to show the brushstrokes so it's up to you the type of canvas I choose I've painted in different types and I find that for portraiture and for fine detail it's just better to have a smooth canvas smooth surface to work on but it's not about better or worse it's just personal choice it's a good idea if you're working on the darks to squint so you can kind of put those values in the shadow close together even knowing that they become more contrasting when you focus on them even if you have experience they still trick you so make sure you use stuff like squinting or the black mirror - to compress group together those dark dark areas so now that we have done the hair and the shadow the shadow the shadow side we are ready to kind of move towards the light looking at the range here look for some some of the warmth warm touches around the edge between the hair and the and the flesh there's like a warm note around that and look for those and add them there they can make it look more alive when you do them I'm going to change to a bigger broader brush because I just want to be more efficient honey some cool getting from gray here mixing it up my flesh here so he just feels cooler so the forehead is just transitioning towards the dark losing chroma before it hits a little bit of the shadow here and the same happens to that area we are using a type of lighting that is called crest lighting meaning that the lighting is facing us is healing kind of like not the center it could be towards the center of the form or towards one side but there is either rim light which is the light that comes from the side most of the of the surface will be in shadow but this is a very this light is the best light that shows the form because it's just facing you the light is right in the middle of the form and it's clear how it turns to each side so for instance this side of the head is going to become darker so that we have the illusion that the forehead is coming towards us turning around so you can see my handling of the paint is just very direct and opaque I'm just trying to solve that problem of value and color and as soon as you kind of described the surface of an area make sure you go around the edge and see the quality of the edge and I see that here I could be softer because right now I have a sharper edge here which is fine for variation you want variety in the edges here is softer than this part and it comes towards the light I want to have a little bit of a softer transition to the hair so that I add variety to to the forehead and if we do that throughout the painting then the whole paint becomes much more exciting now we see that before all this the area looked flatter and now we have some volume on it so let's catch up and try to have it throughout the head as a principle is better to have the shadows more similar meaning having kind of the same color through the shadows and more variety in the lights that way the painting has this dignity to it if you add too much difference in the shadows it loses the strength so think about the variety in the lights and more constraint with the shadow I talked about a using a black mirror before and it's very useful because it compresses the the dark together and separates them from the lights and if you have trouble simplifying the shadows this is a good tool because you can look at it and see compared to the model and seeing if your families from the darks and the lights are working together the difference between using a black mirror and a regular mirror is that the regular mirror is to compare shapes you can see it upside down too compared to the model you can you know step back away some people just put it on the top if you see it like that also upside down but this black mirror is useful just for the values and that's so much for the shapes because it's dark don't use your phone I see a lot of people getting an iPhone or something when it's off and they kind of use it as a black mirror that's not a good idea because these it's a deeper dark actually the phones do the opposite when you look at it through the screen of the iPhones or any of any phone any smartphone what happens is that that darks look lighter and the lights look darker you don't want that the effect of the black mirror is for the darks to look darker and compress and yes the lights are going to look darker but not so much they're gonna separate these two families so it's very useful I don't want to get too crazy about judging what I just did here because the purpose of this is a better setup for tomorrow what we did yesterday was a good foundation to do this but now it's fine tomorrow we're gonna come and describe the texture and fine tuning and that's enough information there to do it if by the end of the day today I cover everything and I want to fix some stuff I can do it but not take it to a finish it's just with the intention of how a better reference for tomorrow but that's fine just let's keep moving down and it's better if we finish an area here to not go and jump to you know the shin or the neck or something like that it's better to go to organize it so that you go one thing after the other that way you can judge it better the foreheads turns in here at the bridge of the nose so we have we darken this to make the illusion that is going in like that you hey would you like to win a beautiful painting worth almost $3,000 we've got a beautiful Joma girl plein air study that he's done of the sunset in Maine it's gorgeous if you want to have an opportunity to win it go to painting giveaway dot-com just put in your email that's all you've got to do and you only need to enter once we'll be giving away the prize at the end of May go to painting giveaway calm streamline art video is proud to partner with our renewal center to bring you secrets of portrait painting with a RC master artist and salon winner says our Santos in his early childhood in Cuba says are always interested in creative arts built mud sculptures in the rain and used his imagination to invent toys at the age of 12 after emigrating with his family to Miami he dreamt of a future as an artist even while participating in the sport of boxing and attending a magnet school for architecture his first love was always fine art after learning a contemporary view of post-impressionist ik principles Cezanne wanted to add to his knowledge by understanding the scientific aspect of painting he set off to the angel Academy in Florence and then took that knowledge to meld what is now his unique and personal style reflecting both modernism and traditionalism say tsar is well known for creating portraits that / flecked his passion for the unnoticeable yet irreplaceable people of his community in this extended video follow along with say czar as he expertly guides you through each step of preparing creating and finishing a portrait painting with his systemic approach Sasa removes the difficulties many artists encounter when painting portraits he'll show you proven techniques that he has developed through many years of his studies so it's good to find out what the problem is sometimes we see problems and in our lives we do that a lot that's a problem that's bad that's easier than finding how to fix the problem so as soon as you find the solution that is what matters whether you favor classical or contemporary you will benefit from all sees our offers in this video we're nearly every brush stroke is captured for you to see Cesare is very comfortable working in front of the camera and you'll find is playful yet serious style easy to learn from his principle based teaching methods are straightforward and practical taking portrait painting something that many artists find difficult and making it much easier to learn and apply all of this has the teeth inside the structure of bones is just a circular shape that goes from side to side here like that and then from top to bottom going like that to say czar breaks down the process for you and do four stages drawing and constructing dead coloring first painting and second painting anybody can start a painting the problem is to finish it with with detail and not lose the broadness of it in each stage say Tsar will not only demonstrate what he routinely does in his own work he'll carefully explain in detail why he does it this way and the advantages these methods have so in this case I put the white light red and a little bit of yellow mix it up to a nice flash see I see a lot of paintings having this line to thin at the end remember that's something that is folding inward like that so it has to have an area of darkness that is just you know before it goes totally inside the mouth so make sure make sure that this has some width and height to it you can then take this information and incorporate it into your own paintings in no time soon you'll be enjoying painting portraits more than ever watch as he skillfully paints a realistic portrait from start to finish interpreting physical features and developing flesh tones with great precision because of say czars unique teachable talent this video is appropriate and useful for all skill levels the whole experience of just one painting is really interesting and it looks for emotions within the artist and now is the time to be precise and kind of like meditate into into the this world that you have created here and that's the beauty of of being an artist the skill says our teachers are unique yet universal and you'll find his techniques to be a natural way of building and creating portrait painting that you will be proud to show off in this video you'll also enjoy a showcase of Caesars artwork along with an interview of the artist conducted by Vern G Swanson art renewals Center trustee also featured is a musical composition directly inspired by the artists work from Brazilian composer Giacomo Lombardi this video will become a treasure in your own resource library and you'll want to refer to it over and over as you master say czars secrets of portrait painting [Music] you secrets of portrait painting is the biggest selling art instruction video in history anywhere it's huge it's a must anyway if you want to learn more about it you can find it at Lily art video.com now let's talk to the artist himself and do an interview hello my name is Vern Swanson director emeritus of the Springville Museum of Art in Springville Utah it's my pleasure today to be with Cesar Santos outstanding young artist out of Miami and Cuba and they will be talking with him about his life and his art and in the art world of today and it's really exciting because he's a very well-connected artist who knows many people more importantly everybody knows him and so let's begin hello Cesar how are you it's a pleasure to be here Verne thank you you wonderful it's great to talk to you it's been wonderful to spend the last day getting to know you better a lot of people would like to know who is the real Cesar Santos tell us about how you begin your life and how you got to where you are today well I was born in Cuba in Santa Clara it's a small city town in Cuba and there I grew up pretty much wild we had a little toys to play with so we have to invent our own toys and I think at an early age that got me to be a little bit of a craftsman and also getting creative with with having not so much things to do getting creative when it was raining go out and do sculptures in the mud or or doing our own you know conversational pieces with friends in when their lights went off and stuff like that because I grew up in that cuba was having some serious trouble after separating from Russia and anyway so I when I was 12 in 1995 my family emigrated to America to Miami and that's when my whole life kind of changed completely because now I had a future ahead of me and I had things to engage in more seriously and that's when I started more interested in the arts before it was my uncle in Cuba influencing me saying you have talent go draw do this joint exercises but it wasn't a serious thing because I was boxing as well my father put me into several sports track and field and boxing and even though I kept practicing them and still do my focus in America was to become a fine artist a painter yes so when did you decide that you would be maybe an artist I decided when I was in Middle School and the only good grades I had was in arts my art teacher said you cannot go to a public school apply if you don't have money for a private school just apply to a magnet school and we have one of the best in the nation design and architecture senior high and that I think was when I decided to launch my career in the design field in the art field with design and architecture and then from there I decided that I wasn't gonna be an architect so I turned to Fine Arts so for college so I just kept going more and more into painting and more into painting and what kind of paint you went to art school the New World School of the Arts of the Arts for comms and what kind of school was that and what kind of art were you basically directed towards well as part of the art establishment so pretty much that school was based on the contemporary views after post-impressionist type of principles more directed to conceptual art and experimentation rather than developing the classical techniques or the craftsmanship to to see the world around us and represented it was not about that it was more how to live as an artist how to see as an artist in terms of what we call artists you now adays and nowadays now so basically it was a modernist post modernist type of art education but that's not exactly where you are today what there was must have been a turn around somewhere how did your life change that in such a way that you are now the artists we know you are well I see myself as being part of that and I would like to be always I never thought of myself as a classical or a purist painter the only difference is that I was not happy with the teachings I was getting in the school because it was one direction oriented it was only conceptual and an experimentation and never the scientific part of painting which I loved I looked at our history books and I looked at of Velazquez and I say how did he do that and page-by-page different names come up and all these secrets are were lost so I think as a as an artist developing artists I saw myself that with a responsibility to go and learn how to do that if that was my passion but I do I didn't want to escape the contemporary art world I wanted to be part of it because that's one that's how I started wanting to be part of it I just wanted to add something new to it so basically you were that and now you're going to be this you're going to meld the two together yes so how did you do this what mechanism brought the two together well after four years there I was about to graduate with a bachelor's degree and all my future look like was teaching like one of my teachers theory of art our history so I know I cannot do that I'm not gonna depend on that for my life so I looked around and I saw this small academy in Florence the angel Academy of Art and I saw the student work on the website and I said I that badass and artists are they learning how to do this what is this so I kept insisting and my parents finally after a year of me bothering them to get me there they finally cooperated and gave me the funds to go study oh my goodness that's a spectacle so how long were you in Italy I support I graduated I graduated from the angel Academy in a year and a half I was in Florence about two years about two years and and so you kind of set your own agenda and really it's remarkable I know of no other American artists or European artists who have has tried to meld the two modernism with with traditionalism now tell me which artist living or dead have been influential in your art career well thank you for mentioning that just a little bit before that I wanted to mention that that was my life after studying in contemporary art academy art school and going through the conceptual training and mixing that with traditional school in Italy I was part of these two worlds and I also saw nobody doing this conversation so my series of syncretism was about that about opening space within a canvas that both faiths both both opposite schools of thought can live together and interact with each other because now that was my life that I reflected who I was at the moment now about the artists that influenced me I have never been a type of I don't follow the artists I look at images of the past the present that talked to me that tell me something that I learned from and that's what I take away I don't there are Rembrandt pieces that I don't really like and there you know unknown painters that I'm blown away by some of the works so I have two influences one is from artists who change the term beauty that the challenge what Beauty meant because we think it's a universal beauty's Universal but it's not we know that what is beautiful as makeup in some tribes we find them horrible and so beauty always changing we think the social group that we are and I think the heart is like for instance Michelangelo when he did the wall not the ceiling you see the ceiling is this good face is more organized and you see the wall and you see the artists saying something different and that costs controversy and and problem you know problem at that time so I like that and also Jericho with the wrath of the Medusa oh saying I'm gonna I'm gonna render this huge painting and I'm gonna dedicate it to this problem that we're facing or Rembrandt applying texture in that way in a canvas so I always look for people who are challenging what beauty is it's not the beach scene or the flowers of the beautiful woman yeah and and and I'm for it but on the other hand there's Bouguereau and I'm a copying more than any other artist because he took Beauty to that perfect level that is impossible to achieve nowadays I believe when I stand in front of the nymph and Saturday I don't like you know it doesn't look like a human did that so for me that those are influential painters or or art absolutely yeah well tell me so you're approaching art basically different than other artists who who graduated from Angel Academy which is one of the more famous ateliers or academies that are kind of opposing the hegemony the dominance of of the art world being controlled by post-modernism so official art of the world today is post-modernism modernism post-modernism now there's a growing number of academies like Angel Academy throughout the world now it's a young movement and I'm sure there's a lot of growing pains but tell me what do you think are the strengths and the advantage of these new academies and maybe disadvantages I mean because they're not all doing everything right they're in their infancy well I think the strength is that it's an alternative for me it was it was an amazing opportunity to be able to go there and know that you can learn this these principles and you and the technique has not completely been lost but so we see the positive you can actually become more knowledgeable about the world that surrounds you about the visual effect you can learn how to mix paint and translate the world around you into a flat surface and make it look three-dimensional so all these are good attributes of those academies I think the moment you you go through the training and you become like you acquire this technique and this ability to paint realistically the society tell us that this is amazing I'm still looking good Facebook tells you that your parents tell you that so you rely on that and think that that is the end and you and you don't question anymore you say this is beauty contemporary artists don't know how to paint there they don't know what they're talking about this is true art because it has been proven in the past and there is no point to be mimicking classical painting and that's what I see a lot I see a lot of mimicking and wanting to but this but really it's not about that I think art has to challenge take people to a new place they'd never been before it sounds like there's a bit of arrogance there once they've attained a minimum degree of proficiency they think they've gained at all but it's really a student practice exactly that's a lot of it has been my challenge because I want to learn how to be a better painter I want to create with my brush things that will take people's mind to a new place a different place but I want to be I want to be relevant to my surroundings exact I want to say I want to present images that that people that not the public because that's what television does and I think that's a mix that's a confusion that we have I don't care in my art to please people that should be as an artist I want to challenge myself and look for what I believe is beautiful or what I believe I should be saying and saying if people like it or not it's not up to me I think normally that that's up to the talented amateur to do that to try to be nice and painting things that people like but we have television for that you see a beautiful woman actually in fluent the influence from classical painting you're seeing posters from movies you see it in television all the time the drapery the so I think our role nowadays is to see how we explore our world visually yes now in today's contemporary modernist dominant world it seems that the artist is painting for the cultural elite for the people who get it but it's very obscure to the average person but it sounds like you don't want to go that way and you don't want to go like an illustrator to where you're just painting or drawing for that works that everybody gets it sounds like you're you're you want to paint paintings that they're relevant to you and you're hoping that they're relevant to other people but they're challenging you you still want to remain a challenger to two people yeah all the time and to myself I yeah I don't sleep in peace I'm always thinking what's gonna be my next painting how can i how can I say something more complete as an expression and that's why I want to make sure that people understand that these academies are doing an amazing thing because they're giving artists too to work with right older than saying well you can do everything except knowing how to paint which is what the only option that the universities are doing yes you can do everything except make a good painting you know which is not an option at all you want to have the freedom to add a good quality work and contemporary work as well and and see the beauty that we live in because it's easy to say oh we live in this bad world and the ISM before it was and idealize that but come on you know in reality we are in an amazing place and we can use technology to our advantage and also this Academy sometimes become too purists and they deprive the students from trying technology and the use of photography or lighting or things that in the past has been proven to work tempura was the norm they brought oils some painter said I don't want to paint in oils I want to paint in tempura that's the tradition that's easy you can just blend forever there and the same thing with Anatomy Botticelli said no conceptually the figure what are you doing and that means he said no I'm gonna study Anatomy and make it more realistic so there's always been that that challenge in avant-garde mentalities versus traditional mentalities and what I'm proposing is and what I do is that I see my surroundings I take all the tools I can we just express myself in a complete you marry them together yeah well traditionally it's always been the young artist who's pushed the envelope ah you're a young artist you're 33 years getting there I'm getting yeah you think I look at that and think it's funny but anyway John Ruskin the art critic of of the building in the 19th century said that all truly great works of art was about something beyond itself what message or meaning do you have beyond your obvious subject yeah well I try to do what what film movies and photography have not do and that is to make you see through the work of art to make you dream into it for a longer period and see it always differently and that is something that I don't get with a movie it's just stays in the surfaces done I don't want to see you again and and a painting for me when I create art I try to do it so that that powers transcends and when people see my subjects they they see beyond the subjects or the activity they're engaging that's why normally my latest paintings they're not doing any activity they're just standing there looking at you and me by being minimalistic about that expression I think and painting the paint quality has to be strong enough to engage you as a viewer and see you hold culture your community your your your race you know or whatever it is that takes you and reflects on your own self that's why my subjects are facing you and they're just being there for you to to interact with them so I hope that it got comes across do you want to be famous in art history or in popular culture I would love to be famous in our history my uncle always told me you need to take people to a new place you need to contribute to the art world and look for ways that that takes you that like make an effort to to look at things differently don't settle for just repeating or trying to mimicking the past and I think that's important and tell me about your studio practice are you a what we call a studio rat or you know in the studio great discipline or do you like to think more about it and then paint less I'm more of a studio bat source of - you know I'm like crazy I go in my studio and just paint all night and you're back I don't like the right bye babe yes but I think I have a great work ethic I see because of my background and my lack of money and funds I think I had to strive for a successful career in the arts so that made me and also being an artist it's like this is challenging yourself and I work more than any artist I know I spent 10 to 14 hours today always think of new things always making a painting if I'm not drawing I'm writing if I'm not writing and painting so that is my life pretty much and I exercise every day because as for me it's a reset if I work eight hours and go to the gym when I come back after two hours I'm new again to work some more to work some more amazing now tell us a little bit about your procedure with painting you get up in the morning you've been thinking and I saw your sketchbook and that's very important tell us about your sketchbook as a a part of that package that make you you yeah I think he's sad that a lot of artists don't have sketchbooks for me was surprising when I went to the Angel Academy because at the university the New World School of the Arts college everybody had to have a sketchbook and suddenly I find myself in a classroom learning techniques and always people left it to the school so I think the sketchbook has to be there because those are your moments your thinking process your practice and you need that as a warm-up as a brainstorming place and that is your intimate thoughts go into your sketchbook so I think you have to have it if you're if you have a serious painter unless you have just lost or loose pages full of sketches which is the same idea but it's better to have something with you that you can take around my process in painting even though I use technology I think it's very classical in in in approach because I take photos and those photos I take them as studies there's that I don't copy the photo because I don't have anything else to paint it's more that reference instead of doing a color study for this and a sketch for that I get some photos and I arranged them in Photoshop which is more of a another study and all that works to my advantage because it's just faster and at the end when I'm painting I'm looking at all these studies even though I'm in my studio and not painting from life I am painting from life because I took the photos from life my thoughts came from my life and I think that's a misunderstanding also from the conservative point of view or the purist that painting from life is sitting there and painting in front of the subject and I think if you don't have arbitrary lighting if you don't change your colors around or your values if you're pretty much copying what you're seeing in front of you that is pretty much the attitude of a camera so that you're painting from life while you're painting literally does not mean that I'm painting from life painting from life is more like looking at your life surroundings and and painting from your brain cerebral painting and just painting it it doesn't mean that you have to be outside of your studio or anything like that so my approach even though I use technology as much as I can or as much as it doesn't harm me my I think is very classical because I get all this well do you do you paint from life I mean I do oh yeah I'm gonna do it soon I'll be doing the demo well you'll be doing it right away but I always say I force myself to do it because that's the only way and I feel I want to make it clear for students that are beginning and have this and say photos I love a scissor I proved it so I'm gonna do it and what I'm saying is I never painted from photos when I was studying in high school studying art didn't and in college didn't and even in at the Angel Academy did it I just use it now because it's I just realized I don't have to do what the teachers told me over the school told me it's to my advantage but if you want to learn how to describe form and to paint you're good atmospheric impression you have to study it from life that's because that's what you have in front of you otherwise the photo is going to tell you what to do and the Sun I do I feel that photos often lie all the time like you see you sit in courtrooms all the time yeah of course they lie and artists lie too and I think that is the the beauty of art is distorting reality if you if you copy what you see is nobody cares and people say is like a photo you don't say Rembrandt is like a photo or Carvajal right that is because they lied about what they saw in reality and I think that's the beauty of it you see the reflection of a mountain in a steel water in the lake and that calls your attention more than the mountain itself so we humans love these things that are similar but not quite like black and white photography sometimes it's more intriguing than regular photo and that's why we have Instagram with all these filters so you change all these filters and make it more interesting you don't want reality as a raw sense so I think as an artist that's what we do we we show an alternative to raw life right right now the artist Frederic Leighton Lord Leighton he alma-tadema even used photographs so he would photograph his paintings and then look at the photograph and say this and then go paint from life to change it yeah I didn't hit photographic is that interesting if you ever heard anybody worked that way yeah I think burl did some of that too yeah so they had used photographs but more as process not as product exactly you don't want it you don't want the tools to do for you what you cannot do for yourself for instance if you learn how to do a straight line you practice you put the points together and you kind of take your time and do a very straight line then you have a ruler and that makes that easier right so you don't want a photo to solve the visual problems for you because it's already flat it's a face the background so you just copy that you don't want to do that so you want to be able to manage yourself so you don't have to depend on the tools you can just control and use the tools like brushes what do you want to paint with your fingers we invented brushes to help us paint better so anything that you as an artist find that is important to the process your process they use it but it's a personal thing it shouldn't be a value thing that for everybody would make a rule know this and know that for instance projection how many people have projected people in the past project people in the present but that is and some people say oh they're cheating I don't think so I think they're themselves if they don't know how to draw from life yeah and they do that but you can see it nobody's gonna get a good painting if you don't know how to draw and you just project the outside so I I think it's just like you know there's nothing but inherently bad in those things it's just the way it's used exactly you see now now in the past many great artists when they always had people that they've trusted to come and look at their artwork for instance John Singer Sargent whenever he would get a passage that is just a problematic he would call in alma-tadema and Padma would say hmm okay do you have family or friends that would or artists that you know and they would say you say hey I can't think of my look take a look at my work and critique it for me do you ever do all the time every painting and that's my wife ah my wife Valentina it's ink well I met her when I was starting the angel Academy in Florence oh just starting so basically she went through my whole program the bark drawings the charcoal got everything I will take her in the studio take her in the studio and show her the system and I was so amazed by the way we construct the painting and she developed this vision and this eye and if I'm sitting painting something she passed biases like I don't know I will take a look at that eye over there or the Handy's and it's insane how she sees I'm like maybe nobody's gonna notice this and I as an artist we all have lazy minds and sometimes you tired painting you know the whole night and you say maybe that's okay man Valentina comes in the morning and looks at it I say what happened to hand over there and I'm like got cut I gotta go listen so in subject matters too and and areas like that I'm so glad I have an eye of that quality to me yeah the outside eye is so important because we do we were lazy creatures and so you know if it's good enough it's good enough you had mentioned about a contemporary subject matter that it doesn't do to to look at the past and paint the past now yesterday's subjects yesterday's exact techniques yesterday's exact vision what do you see is the obligation of the artist to paint their day their pain yeah I don't think it's the obligation of their to paint their day or day time I think is the obligation of the artist to be aware of their day and the time and to somehow percent it or go against it or something but you cannot be asleep and say I'm gonna do that because that's the comfortable way to do it and that's easy they solve my principal problems or my you know elements are there and I'm gonna use that to make Miami its in paintings that my cousin's love you don't want to do that as an artist you want to challenge yourself and say what what is it what is my situation in the world how why do I paint what I paint and and question it all the time that's what I'm wondering and look at television or what it brings and cinema and theatre and say okay I have these little things here square canvas with paint what can I do that is powerful none of the famous artists we know painted mimicking the past you know Bouguereau was influenced by Raphael we don't see him mimicking Raphael you say you see the influence you see the you know that but you see how how he took it to a different level and that is my challenge to look at the past think I'm on a paint in the future so that when I paint is just a pressing and he's come temporary exactly well I'm wondering how do you but what mechanisms do you keep interested in your own artwork now you mentioned that you're somewhat prolific I mean you have you work very hard you produce but after X number of paintings does it begin to be rote routine and and you and of course routine is the death of an artist writing but how do you stay passionate about what you do well I said passionate by conversation I look around talk to different minded people argue with them fight sometimes by peaceful fights and I made myself think about what I'm doing so after a while of a series developing a series of work for a purpose some researching is idea research I'm doing this and what should I do to it I've painted my paintings my recent paintings the background has like six layers a complete cover because I'm looking for something and I still don't get it and I think is that trying to achieve that which is unattainable it's what keeps me motivated and looking for new things and new ways so I don't take it as yeah I'm gonna paint this and tomorrow this and I know what I need to do I don't even know what I like yeah I think I have that advantage yeah well bird Jones once said the he said between the last painting and the next one I forgot how to paint totally you know what it's funny because now I'm gonna do a demo and I'm gonna use a system that I last week developed after copying a burro and I think it's more advanced than my other approaches even though I've taught the other approaches at some workshops so I'm sure some students are gonna say oh my god you told me different palette or you told me a different set of colors or layers and I said I do that all the time in my work no to fleshes I paint the same well say but I don't paint the skin tones or my palette I don't set it the same way every day yeah so I think that keeps it new and fresh and it's true I forget it I'm like what am I gonna do today okay I just approach the problem have you noticed that many of the schools teach at the ateliers they teach us say the painting of the Griz I the the black and white and gray a painting of a nudes let's say and and then and then a student who graduate that they leave school and and they think that student practice is professional practice because some people buy it so thank yeah I mean people don't know anything and underneath I have a fully wrought a nude painting of a woman let's clean off that pin and get down to that yeah yeah yeah well I think I think all right has to go beyond teaching and beyond school if you can recognize where you studied clearly you're just doing that now you're not really finding your own voice but that's what they taught you what were the tools so you can take that to a different level but of course it's so many people now campaign before they had to either make a living at picking potatoes if you were not a good artist you know you have to decide and now we have such a luxury in our lives that someone can pay for your education you can get a loan borrow money so we have millions of artists just painting in this academies or anyway anywhere so it's it's we cannot say that everybody has to be a genius or an amazing artist all we can do is try to look at our history and see how we can take it to a new place how can take how we can go beyond the pretty and the ugly and the schools it's difficult you have to think it's a lot of work but that's what it is otherwise people are right painters are lazy you learn how to do a cast and you just do a cast your life still life arrange it all right yeah yeah I understand in the Soviet system people would go to the repin Institute and received the absolute best academic training in the world I think then when those artists graduated or finished their diploma and they painted the diploma painting and now they're in the world not one painted academically because it was required to them not to because yeah academic painting took a long time very careful and therefore was only for the rich and it was called formalism are noble whatever okay and so so it's interesting how they're trained one way and they have their professional practice quite a different way but the advantage was they they were one a heck controllably residual they knew what they were doing and whereas here we in our country we deal with light and color there they dealt with weight and form but wait who deals with weight in dealing with painting and they study many years - the thing is like these academies are so short even four years it's not enough from zero to four years like that is not enough to master that technique the technique of oil painting so I especially workshops nowadays some people don't even go to the academies they go to a couple of workshops and they try and I think they get it and that's the difference between those painters over the past that the whole life they were practicing good habits so by the time they were free they were you know real equipped with with a power of expression now we have people that are really just learning what this teacher told them and the teacher is not rapping either they're not really there you know so you get accumulation of just lack of knowledge and yeah I think after school you have to keep studying and spend more years than ten thousand hours so priority practice you know oh you're having an exhibition coming up yes September do you have exhibitions one a year or every other year every other year more yeah I get prepared a couple of years and then I have a show but sometimes I am fortunate enough to sell paintings constantly so I don't get to accumulate for a show and sometimes people say oh the show is important and I enjoy being there and drinking and looking at my art all together but it's a better feeling to paint and have someone appreciated immediately and take it away from you and I think that's why I have had little shows solo exhibitions it's because I owe them and I don't have them with me if the Metropolitan wanted to have a show we go home and I'll show everybody that has my painting say yeah I watch your painting pen yeah how about a a 35 year a retrospective at the Met oh my god not yet well maybe when I'm 80 and 80 you have had five yeah maybe yeah maybe I'm too much I don't believe I you know I belong to those type of settings yet I'm developing I want to I would love to get there sometimes well I I try to be careful because I can make a mistake by showing it my you know my art somewhere that it's too much for it you know right so you see your artwork as as in its still and its developmental that's how fine every painting I paint I'm like no the next one is gonna be the best one and then I don't like anymore if I if I can I sell it after six months I just put in a storage or something or give it away or something because I don't like it anymore yeah I would like to have one of your giveaway paintings now I I've noticed that you have painted large expanses of your canvas only to paint them out sections of a mountain and do something different because before when I started doing these big paintings I want I was too ambitious and I got the photograph and I wanted to create the impression of a photo on purpose and break away from that classical training and say we are surrounded by photography I want to make a point and say this is a photo of the person expression at the moment and I want to paint him and tribute tribute that you know do a tribute to that and but suddenly I step back and the whole painting was too much I had things that were not necessary and I and I thought why do I paint things that are not adding to the story when the person's face is telling me the whole story so I got a brush and I just cover the background and step back and looked at the same even stronger impression was achieved by avoiding things in the background and then I did that to a couple of paintings and I thought that was the way but then it was too plain and I know this need more more movement so that's when I got my left hand and some crayons and started drawing like a little kid adding to it and becoming you know just creative and sarcastic about it and I stepped back and I said this is amazing this is i love this attitude of painting my right hand the best i can paint and then as clumsy as i could get with my left hand and mixing those two together and that's part of my concept in the previous series with syncretism right so it's just another way to see it another way to look at it more personal and and so it seems like you've had the series of paintings that we an academic part and then an introduction of some modernists maybe a modernist painting in the otherwise academic work of art and now this new series are you still painting this way are you off on a new adventure yeah I'm just covering it and but that just seems like it's a kind of the next step as you as you march forward what do you see in your future I mean in a crystal ball and you're gazing what do you see at the next step in the next step or philosophically just kind of moving from serious to series or we're lighting on something and then just perfecting that yeah right now I'm sowing love with what I'm doing that I he's gonna be forever and when people come and say oh I cannot wait what you gonna do in the future I'm like really I'm just this is the future I'm just starting with this so I I don't I think I'm already doing something that was the future two months ago and you know so I don't I don't have the ability to see beyond that I'm just engaging in the present and trying to develop that now and I hope it lasts forever and I discover new things we think that but I'm sure it's not gonna happen it never happens but I don't want to be concerned with that fantastical world yeah you yesterday today and tomorrow it's good yeah let me let me revel in what I'm doing right now I understand that there may be a book published on you and in a couple years published by your wife well she has been writing my biography and not since we met she started getting points that have been tension or success stories and just marking them and writing them in order and what happens around that and deals have met with important people and stuff and I think after before was just a little text but after 10 years it's just one cool thing after the other and I think that was a good idea to do because now we have all these you know writings with that we might have forgotten if we didn't put it in paper and I hope that will serve serve the future to just teach people or to show more of my life how it went and it also solidifies your reputation and your career case you want to have a career tomorrow as well as sure enjoying it today and with an expectation that that tomorrow will be a good tomorrow and I'm sure you seem to have confidence that that you know life will go on and you'll be able to I have a painting career oh I think I've had it because I came from nothing I had nothing and I always said I will make it and I I didn't have Plan B and some artists called me and say Oh what do you think I'm gonna make it as an artist or if you're thinking that you're not going through because I never thought about that failing point and my present is the future of ten years ago so ten years ago I said would I make it in 2050 16 or 15 being living as a painter without just you know having any other job and and it has happened so I don't have to worry about that I know that if I just do what I love there'll be a way to survive you know yeah you know my background is is in academic painting mostly and naturalist painting with the Russian art and but your artwork is still yet to be categorized here a little outside the box there you go how does that make you feel I mean uneasy I'm proud that's weird definitely scared because but I think that is what my uncle always told me to you know if people go here you go there that's my first attitude when I was in college was nobody knows how to paint here I'm gonna look for a place to go so I went to Italy to study so now everybody knows I can't any work so then I go back to so I always do that but my life is like that too I am you know explosive and I change directions all the time and I and I don't that's when you asked me about the painters I find myself knowing very little about contemporary painters and what they do and what the auction houses do I'm not concerned with that and maybe that has affected my my work in terms of I don't know where I'm feeling because I'm not feeling even in my mind with anything so I mean I'm glad that you saw like that I think I feel proud that you said that yeah yeah well you hate to think that you're plowing the same old field you would like to open up new ground and you lose friends with that though because some yeah normally a lot of because I did it and that's why I say a lot of but painter a lot of painters paint for their colleagues and you find yourself in a group of people you find calm you find yourself comfortable within them and you share ideas and principles about art and I think that's dangerous no two artists can be the same in that light you can be an impressionist but you have to be against each other a little bit say no I don't think that's true I think this and if you want to stand out because in art you have to impose your views yeah on clearly works look a Picasso look at all these people they said this is guys this is honesty this is me this is real and until people say it yes I see it now you cannot say what my friends we I don't want to be willing to agree with my fellow artists and do what they would like me to do and I hope the what they appreciate is that I love arts and I I love craftsmanship and technique but they have to understand that you are yourself and you have to say stuff that even people don't agree you have to say it it is in it is the way in the arts and yeah so I find myself out of any group of outside well there's some artists who paint outside the box but you seem to say there's a box what amazes me about your work Caesar is that my dear friend Fred Frederick C Ross Fred Ross in New Jersey he's a major collector of 19th century academic painting and he is a major benefactor for thousands of young artists like yourself who are at various stages in their career now I would have thought that you would be the last artist that red would because he's very traditional very conservative just like me and and you would be about the last artist I thought I would like you know that we have something in common you see what I mean I can conquer you and yes loss because I bring quality work authenticity and honesty yeah no totally but also I bring academic I rescue the classical world in terms of the visual effect has to be powerful and well-made and I want to make paintings that are well done that everybody can enjoy it and say okay we don't argue about that that is quality work my kid cannot do that that type of feeling and I think that is what I I do have sincerely develop and that's why I think I can be appreciated by by people with you know like you who are pretty warm or purest and and yeah why not because well if you have the quality and the talent and the honesty I mean we see that that and then getting to know you we it's only reinforcing what we knew already but you struck our eyes and we surrendered you see because great art does that I agree with all I mean it's a surprise to me why what's this upstart doing I mean yeah any time when people think that I'm just trying to be strange to fit into the contemporary art world that's sad because that's easy to judge but they don't know that what I'm doing is looking at my surroundings what do I do I go to CrossFit I have an iPhone I Drive a car right and I eat this and I you know so I'm painting my people why I'm being honest being honest it's not saying oh my teacher told me that a girl looking at the window with the light in the faces what beauty is supposed to be and I'm gonna paint that and I want to be weird to be in our Bassel know I'm an artist that's what it is that's what everybody did being eccentric this part is the key to any major work of art Rembrandt was eccentric you're an art historian tell me a famous name that is most not eccentric and his time art cannot be conservative at that I bore was eccentric with his huge nudes coming look at this amazing girls naked Wow never painted like that before larger-than-life still I like everything even even Aang was eccentric for his idealization of form and Bango I mean you name it and I tell you is eccentric yeah you talk about the physic your physicality and the gym and and and your sports and people will think that that's unusual for an artist because the typical stereotype of an artist is there a little wimpy guy sallow you know no muscles they're thin and they're they're they're backward and they're inarticulate and they're wimpish mostly wimp a and they're not very good citizens and they're usually on drugs not realizing that they're describing modern artists but realist are well in this way I decided and in ordinate number of people who are perfect largest I have athletic background I mean they played a professional they played college they played just a club you know they or they just individual they're quite athletic more so they tend to be healthier they by the way they live longer oh but I did study a several thousand modern artists and and and realist artists of the same period I did it with cowboy artist because that was a very closed system cowboy you know Western cleaners of Indians and cowboys and cowgirls I think painting is very physical so you I don't think it goes against it if you're sitting down doing stuff I don't know but I'm standing up painting with my brush and hold the pilot full of color for hours and hours so if I don't train I think I'll be in pain by doing this so and this type of art requires a lot of attention and out of health good health and you have to be physical about it is you know you're carrying something and because you're using your body to paint yeah yeah I mean it's it's it's a salt in what are sports you're a boxer it's intuitive yeah you move and that's between the canvas and your boxing that canvas and sometimes them it's tougher than some 250 pound opponents all the time yeah Cesar it's remarkable all the insights that you've given us in this last hour I I've learned a lot I think people who watch this video will be well informed and will come out more understanding of the artistic method the truth I think new things have come out I'm amazed at how much you you've said that you really kind of understand what what has happened in the art world today and maybe this is the future maybe you and and others of your ilk would be the future tell me what does it feel like to think that you may be a seminal artist that changes the way we think they'll be amazing because that's what I did he came my life to that's what I live for so if that happens then you know I want to cry or not yeah but if that happens you know that is what I surrender to every day so if that ever happens which probably not because we I believe we're just dust and we are not important but but I do work hard every day and I and I look to understand my my situation and if I ever influence anybody that stands in front of my painting that for me was the success that was a successful painting so everything else is not up to me but it feels good to think about it well that's great thank you very much for talking to us about it what's important to you thank you I hope you've enjoyed secrets of portrait painting with Cesar Santos you're gonna love watching this one it's 19 hours and you're gonna get so much out of it you can learn more at Lille art video.com I'm Eric Rhodes keep painting streamline art video is proud to partner with our renewal center to bring you secrets of portrait painting with a RC master artist and salon winter says are Santos in his early childhood in Cuba says-- are always interested in creative arts built mud sculptures in the rain and used his imagination to invent toys at the age of 12 after emigrating with his family to Miami he dreamt of a future as an artist even while participating in the sport of boxing and attending a magnet school for architecture his first love was always fine art after learning a contemporary view of post-impressionist ik principles Cezanne wanted to add to his knowledge by understanding the scientific aspect of painting he set off to the Angel Academy in Florence and then took that knowledge to meld what is now his unique and personal style reflecting both modernism and traditionalism Cesare is well known for creating portraits that / flecked his passion for the unnoticeable yet irreplaceable people of his community in this extended video follow along with say czar as he expertly guides you through each step of preparing creating and finishing a portrait painting with his systematic approach Cesar removes the difficulties many artists encounter when painting portraits he'll show you proven techniques that he has developed through many years of his studies so is good to find out what the problem is sometimes we see problems and in our lives we do that a lot that's a problem that's bad that's easier than finding how to fix the problem so as soon as you find the solution that is what matters whether you favor classical or contemporary you will benefit from all Cesar offers in this video we're nearly every brush stroke is captured for you to see say czar is very comfortable working in front of the camera and you'll find is playful yet serious style easy to learn from his principle based teaching methods are straightforward and practical taking portrait painting something that many artists find difficult and making it much easier to learn and apply all this has the teeth inside the structure of bones is just a circular shape that goes from side to side here like that and then from top to bottom going like that to say czar breaks down the process for you and do four stages drawing and constructing dead coloring first painting and second painting anybody can start a painting the problem is to finish it with flow with detail and not lose the broadness of it in each stage say sir will not only demonstrate what he routinely does in his own work he'll carefully explain in detail why he does it this way and the advantages these methods have so in this case I put the white light red and a little bit of yellow mix it up to a nice flash I see a lot of paintings having this line to thin at the end remember that's something that is folding inward like that so it has to have an area of Darkness that is just you know before it goes totally inside the mouth so make sure make sure that this has some width and height to it you can then take this information and incorporate it into your own paintings in no time soon you'll be enjoying painting portraits more than ever watch as he skillfully paints a realistic portrait from start to finish interpreting physical features and developing flesh tones with great precision because of say czars unique teachable talent this video is appropriate and useful for all skill levels the whole experience of just one painting is really interesting and it looks for emotions within the artist and now is the time to be precise and kind of like meditate into into the this world that you have created here and that's the beauty of of being an artist the skills says our teachers are unique yet universal and you'll find his techniques to be a natural way of building and creating portrait painting that you will be proud to show off in this video you'll also enjoy a showcase of Caesars artwork along with an interview of the artist conducted by Vern G Swanson art renewals Center trustee also featured is a musical composition directly inspired by the artists work from Brazilian composer Giacomo Lombardi this video will become a treasure in your own resource library and you'll want to refer to it over and over as you master se Czar's secrets of portrait painting [Music]

Channel: Streamline Art Video

Views: 266,609

Rating: 4.9199638 out of 5

Keywords:

Id: jps3KupTAvw

Length: 194min 53sec (11693 seconds)

Published: Thu Apr 30 2020