How to paint a portrait

foreign let's paint a new portrait let's see Hello Rob hello Jonas foreign white yellow Chrome Camion orange Camion red permanent Edition green zone roll umber ultramarine blue and every black okay as you usually know all my brushes all of them are basically synthetic brushes different brands I'm going to start I'm just gonna pick up one brush and I'm gonna start sketching with paint okay I'm gonna mix raw Umber and the glycerin cleansing a little bit of linseed oil okay and first uh what I do is first what I do is uh try to see the overall tape and try to simplify you know the face the hands for the hit is something kind of simple it looks like a circle now for the hands I see some kind of triangular shape I think it's about big shapes okay a little bit little I'm gonna start thinking about smaller shapes within those big shapes and then for a smaller and smaller and smaller okay let me see here's my space for mixing the colors here's the canvas I think the position is okay and about the size I think it's okay I prefer to use and it's a recommendation for everybody it's just straight lines it's better to copy it's easier to copy a straight line and then copy a curve okay oh hello hello Monique hello Bob hello a lot of names okay thank you you all from being here okay uh let's continue seeing I'm gonna trace a line for the eyes okay the eyes the eyebrows I usually split the face in three portions okay for the hairline to the eyebrows to the nose and to the chin and I place the center line now it's not like these measurements are going to work every time okay it's not going to be like that it's about using this measurements and observation okay if you see that one of these measurements is not working just you gotta just you know adopt it to the image in this case for example one thing that I see that looks like because of the position she has like a pretty short nose okay and another thing is about thinking about positive space a negative spaces okay uh for example when I draw uh for example the the hands this hand in this hand the arms that's a positive space here for example the space that is between the arms that's a native space okay this here we can just use this as a negative space by copying this we are copying this okay and we're gonna use kind of uh shift from one and the other just like every minute it's not just a moment that you do that and then you stop doing that no no every time that I I see for example this area and I try to copy this or hear this space okay usually I split from here to here in three portions but this location it's not I can see that it's not it's kind of the eyes are kind of closer to be in the middle from the eyebrow to the base of the nose okay now from the base of the nose to the bottom of the chin if I split this in two usually again I can sit the mouth on top of this line [Music] I think today this measurement is going to work pretty good okay let's see hello Eric hello Michael hello Nikki hello thank you rob hello Norm Nikki okay hello Mario's Mila exploring history yeah kitchen Silvia sorry if I'm missing somebody or the young Casey lovely untreated canvas oh yes I I toned this canvas with acrylics I have which you see the paint the color is kind of a dark gray but I use it with a lot of water and I have this transparent Gray and the base I mean the gesso it has a little bit of yellow uh maybe it's not that's not so clear but beneath this gray acrylic color the canvas is not white it's a little bit yellowish a little bit of tiny bit okay now that wasn't that wasn't on purpose uh sometimes we want that we want to know the colors just breathe beneath the surface from day after day but there was an accident but it's pretty nice now I don't have too much like shadows I'm not I have shadows but those Shadows are not so dark okay I squinted down my eyes to try to separate light and Shadow and I want to start just with two values okay just one for the light and the other one for the shadow okay uh on the photograph the light looks like almost you know white pretty light but we cannot paint that white okay I'm gonna mix orange and white in a touch of roll Umber a little bit more to knock it down I continue adding more raw Amber until I see that this color is knocked down because I don't wanna really orangey color okay now that you need more paint I got this now I know that this color is a little bit different from the color on the photograph but that's my my first brush Strokes I don't care that much about that I and I'm gonna be able to add more paint obviously and change colors keeping my eyes squinted down here okay I'm complain painting with the photograph basically you know right now I don't have too much information but what I'm comparing is values [Music] light light light light and all the rest is shadow just orange white and raw Amber okay hello hello thank you uh sorry I got a question here personally from Russian and I sorry hello thank you okay see no let me pick up another brush and same color orange for Amber and white I'm using more orange and raw Amber and less white because I want a darker color here a touch of camim red let's see no it's too dark Umber no it's too colorful okay I'm gonna need to add some blue to knock it down this and even more okay I'm keeping my eyes squinted and just painting with my eyes almost closed yeah because it's not um my growing approach it's not just about uh it's a it's not a linear approach like I say this kind of combination but it's more like a sculptron like a sculpture approach because and and basically when I mentioned that I squinting down my eyes and painting that means that I'm paying attention to Big shapes just shapes okay okay I'm gonna light up this value a little bit more okay I need a different brush for a darker color okay okay Nikki say hi Rob we need a good nickname for Renzo oh wow yeah a big name hey I love nicknames when I was a teenager you know I got a lot of nicknames and I gave a lot of nicknames and I was pretty funny okay I'm gonna draw a little bit I mean like I'm gonna use this brush like a pencil and tracing some lines the image is close to my painting and same size okay that means that every time that I paint is something uh about the side size method in place here okay that makes things a little bit easier when it's about copying dark here dark dark on the eyes dark here this is a raw Umber and a different reason foreign something run into the quiet painter okay [Music] we need a good positive happy nickname for him okay maybe we could change the my uh YouTube channel name okay let's see how far you go with nicknames I'm getting a little bit scared foreign to to how can I say it you know to feel some remorse about it awful nicknames that I I put my to my friends yeah okay I'm gonna take it I deserve a really awful nickname guys shoot you know those nicknames are just too nice okay let's continue painting and uh see let's see let's see a um okay okay I think I'm good about light and Shadow my shadow my dark side here is too dark and obviously it's less colorful than the photograph we're gonna get there okay light the lights are things are good I think yeah I'm gonna add a little bit of this greenish color here that maybe I couldn't hangs this greenish color no sometimes I change colors but I base basically what I use what I have here you know I see a little bit of the sky here and look at the photograph basically White it's kind of the sky here's the same color or the same light color as the the light on the hair but I can just make it make it a little bit bluish hmm it's kind of a simple thing to do obviously it's going to make a little bit of a difference okay I see a little bit of greenish here I can do the same I can make it more greenish I have a green here that is chrome green let me put a little bit here oh this is too strong but I'm gonna knock it down with uh let's see if a little bit of black and white or to knock down any color if you're working with green you can just choose the opposite color right and that's gonna knock down Green that was too much red see if I can add more greenish here a bit I think that would be too much yeah no I'm mixing here green and I was about to say A Touch of red but you know I added too much red that was that was not intentional White and lazy toyo okay let's split spread this greenish color here um maybe I can exaggerate this a little bit you know kind of I like it but not that much okay let's see okay the guru The Guru from Peru is thought but my painting proven then okay the painted Peruvian is great value master okay well okay oh unless put more color here I'm gonna pick up these brushes and let's just add more color here okay this is more orangey Touch of red let's see if that's better okay now remember that there are some areas on the face that the color is more reddish that's because there is more blood on scenarios on the face those are the cheeks the nose the upper lower end and the chin okay sometimes we add a little bit of a red on the on the forehead but one way that's going to make maybe easier to understand us if you separate the face in three portions yeah this portion here the middle one does the reddish one no don't forget the chin because the chin is reddish too but I think that makes easier to remember now uh we Kings the red colors there and the rest it could be just our first color and of course there is a little bit of greenish colors in another parts parts of the face did anyway saying why why aren't you using the values for Photoshop uh yeah I mean I keep that for for the lessons on patreon because it's kind of a different process you know it's kind of the same you know here my my values but it's just like uh for more like a pain alone let's say style like I gotta stop I gotta go slower and stop a lot a lot and this uh I don't know I don't know how to explain that maybe one day I'm gonna use it here okay let me see it's a little bit more reddish and like we can see pretty clear there's a lot of red here a lot of red here okay I'm going to add a little bit of yellow tree lights a little bit more there I wanna I wanna fear more of this sunlight hit in the face I want to see how much I can exaggerate this yellow let's see if I don't like it I'm just gonna just pick up your paper towel and take it off wipe off the color or I'm gonna use a palette knife the shoulders a little bit up it's aligned with the mouth I think there okay now one thing that happens with uh we are working with a warm light color theory says okay if the light is coming from One Direction is warm okay the shadow is going to be cool and at the same time this warm light is going to bounce back and we're gonna have a combination of between cool and warm colors on the face okay now if the light is coming from up it's gonna hit let's see on the floor it's gonna bounce back and this portion is going to be a little bit warmer than the upper portion the upper portion is going to be a little bit bluish this I'm gonna pick up a different brush okay this is going to be a little bit bluish okay now you do that and check out your painting check out the photograph and see if that's happening why this is kind of bluish because it's this is from the skylight okay the Skylight is always there it's weak a piece of bluish light and is always there okay the worm this warm light the sunlight is a stronger one that's what if we feel the yellow I don't see that on the photograph I see more like white pure white on the photograph but you know I'm gonna just try to change to maybe what I think it was the normal situation you know based on the photograph on the light okay oh thank you Michael thank you for the Super Chat okay oh I'm gonna check out if I have a question okay uh color Harmony yes yes exploring history since he watched they weren't reproducing to describe like squinting knocked down values shapes mixing tones Harmony yeah that's that's when you know that's why uh with all the time you know we check out values or we screen down our eyes for let's say two reasons one obviously it's just simplification we see shapes dark and light shapes two I could be to see ages okay because when we screen down our eyes and you see a sharp edge like for example you see a sharp edge here because of the Shadow maybe there's a good indication to keep it at a sharp edge here and where you don't see like an edge like here if you do that check out the photograph or here on the shoulder here maybe it's a good indication to just soften th kind of lost th okay now it's not going to be like that you know this thing about the ages is something that we gotta choose that what age is just sharpen and what ages just you know lost uh with softness I think you got it okay and you all can see my first approach is always uh straight lines and dig and then shapes big smaller shapes okay and adjust values to form draw shapes light and dark you know that's the simple way to draw shapes okay that helps me with the drawing obviously okay uh now one thing we cannot put all the lights with the same intensity okay maybe we see all the lights that are print things like this light in this same here and the same here okay now here's another thing we choose we choose basically a focal point we choose which area we want to just you know pop forward let's say this this that means that I can knock down this light on the shoulder in this one okay I see that I don't see that I know I see a lot of light on the shoulder it's gonna be a good you know choice a good it's gonna be a good decision I don't know I'm gonna just see a when I got more of the painting maybe I changed my mind and I sharpened this shoulder and I softened this one or vice versa okay or I add more light to this shoulder than the cheek I I doubt that I'm gonna do that okay what about this cool color now when I said when I added this light blue my intention is not seeing like a really light blue on the face you know everything is wet I know this this color is gonna get mixed with the paint here and basically I'm cooling down the color I see a little bit of the bluish it has two blue I'm just going to pick up this color and I paint here and basically what I'm doing here is mixing I'm mixing this orangey color with this bluish color that is here and getting a new color now when we one thing that I do that we all we all do is basically mix on the palette and mix on the painting that's basically when we paint the La Prima I think we do that all the time but more when we painted a prima now the premium just one one session okay uh let me see okay okay uh okay uh what about if I had a little bit of the screen as an accent maybe here okay what about a little bit of this more yellowish color here on the edge of the face because there is a reflected light there okay A little bit of this here I can see a little bit of a reflected light here too monkey now our step back and check out what I'm doing um I'm going to knock down this color my white and raw Amber lay it up here okay it has to be darker here so here you can light up this Light It Up let's see some comments little Ritz and comments foreign one of the advantages advantages of old age is that I I now don't I don't need to screen I'm reading Gene Edwin comment I just take my glasses off yeah I could do that too you know um yeah okay it's not working that good okay oh okay I'm just checking chicken okay okay so uh hello Ismail hello Frank thank you hello Gina uh thinking [Music] um okay I'm gonna continue with this area and lady not basically the color now again kind of close to the values of the photograph okay something that happens because we you know we are just colors again and again uh so many times happens that we establish let's say the reddish colors on the face just be careful because sometimes at the after blending and adding more paint we realize that we don't see any more those reddish colors on the face okay you just gotta be sure to check on that and if we don't see it we gotta painting again we need okay at least those colors there are more colors obviously because uh if you think about let's say which is kind of an an upside you know and it's like some green you know we can squeeze some green on the face because definitely some green is gonna it's gonna be around and I can I can see some green here on the photograph and the green is just obviously from the Green for the trees for the trees around okay there is some places that we see we can find some green on the face some greenish color on the colors on the face but this greenish color that I see here on this Photograph I think is more about the ambient light you know the the sound hitting on the trees the light bouncing bouncing everywhere good light you know hit everywhere uh basically it doesn't stop bouncing everywhere okay let's see scooting down my eyes I see for example that here it's too dark okay okay it's kind of uh the face you know and here is the same it has the same value kind of close to the same value okay here here the shadow the arms the arm and the hand here is lighter than the face a little bit lighter okay and the risk kind of a really strong perfected light I'm gonna make it kind of galowish here okay where I see more Shadows on the face um it's more around on the eyes here and knocking down the color we can knock down any color by using the complementary color use raw under or use blue or just black with a touch of white when we practice with the song palette we basically is about just knocking down the colors with black and white okay and some people just don't like to use black I mean you can use raw Amber squinting down my eyes and I see this is dark now what I'm trying to do is just basically adjusting the values you know I see the dark dark here dark here a little bit darker here obviously it has to be darker here for getting this area here okay I'm gonna leave these brushes here and I'm gonna pick up smaller really small it's more okay I was I was holding these brushes on my hand now I'm Gonna Change I'm gonna put it on my little table here I'm gonna just pick up uh number Zero Brush and the number Double Zero Brush just one second okay and okay wait wait a little bit more I need more of this tiny brushes I got here A bunch of them I'm gonna pick up this is pretty pointy oh this is I was painting with this one yesterday I didn't clean it I forget to clean that one this one and this one for blending no no this one for blending okay I'm gonna start working with these three three brushes here okay I'm gonna mix black raw Umber and the glycerinson and this is gonna be this again I'm gonna use this as a pencil and then go for a linear approach okay uh Rob saskimi will you do another portrait using the solar palette yeah yeah I will okay definitely I will thank you Indy okay okay I'm gonna read some some if I see some questions okay let's continue now let's see like mint to go with the photograph nose mouth but off the chin a little bit now the other eye okay I'm gonna move this thing this eye a little bit to a lift up there okay now the north for for the nose I'm gonna mix more red and orange here I see the shape of the nostril I'm going to soften that area a little bit okay this brush this is number zero uh it's not new anymore it's no point anymore look at the shape but right now it's perfect for blending I don't I'm not thinking about blending here more like just softening and kind of make this kind of blurry and paint again you know the nostrils one is going to be here it's a line up with the turduck the other one here okay in line with the teraduct I'm gonna add more recent greenstone to this darker color let's see corner of the mouth it's a line up looks like kind of in the middle of the iris here I'm checking down on the photograph to the left no finger and and checking more that the lightning the painting with the photograph that I have to my left okay there's always a little bit of Shadow below the mouth because here is there is a depression here it doesn't matter we don't see it okay it's okay we just darken that a little bit up even when we don't see that this is uh darker another thing that we always have to have to do is add a little bit of light that goes in this like that okay again maybe we don't see it it's kind of clear no that it's there but maybe they say that somebody just don't see that okay knowing that there is always a light they fall of that form that shape there is going to help you it's gonna help you to see more you know but because remember we paint what we see we paint but we know it's not painting just what we're seeing okay we need the information we need knowledge in this way we understand why there is an up or down on the face you know hmm okay uh July thing when you do it looks like magic thank you thank you so much and by the way I sent you I sent I have sent you a message uh Joan on patreon because looks like you opened opened up two accounts on patreon with different with two emails I mean you're paying me twice you know that's okay for me I'm not complain okay let's see the fingers here let's mix a red and white okay okay I think this is good kind of orangey and keeping this bluish color here the chain let's see here okay a little bit up okay I think that's that's better the light here um okay look at the chip here okay I gotta make the the hand remove this okay now it looks like uh it's kind of the same shape okay there's a little bit of light here um no this light on the corner is a line up with the eye basically okay it has to be a little bit up like a lot up or maybe here darker here darker here and I'm gonna go back to a screen down again [Music] no okay something that uh I don't remember the name but uh that we can do so we can see sometimes in nature that's a little bit of a more saturated color okay between the light and the shadow sometimes it's not that clear sometimes we don't see it at all okay but it's pretty common to to use it every time that we change from light to Shadow and uh oh here here we can see it on the arm look at here I'm gonna I'm gonna make the image a little bit bigger just for you right to see the arm oh no can you see on the arm how raise this orangey color okay okay here this this is what I was saying this here okay a little bit orange now uh that happens that doesn't happen all the time you know we don't see it all the time but it's pretty nice to put it it works pretty good okay it works really really really nice uh now there are things that are just up to anyone you know because this is one of the things that I would just suggest always do that every time that we see uh they will have a high contrast it could be pretty subtle okay it could be pre settled and uh I gotta be true sometimes I don't doubt this but when the light is really really warm hit in the face yeah sometimes just this orangey or color or saturated color between the light and the shadow just works pretty nice pretty good okay now I have to continue adjusting colors for example look at here oh okay I got something wrong here red okay now I'm going to add a little bit of white with a touch of yellow things obviously and um sometimes it's better just to do this by adding more and more layers you know look at the difference with the brush I mean I could make it lighter with a brush stroke with a really thick brush stroke I just want a really thick layer see how far I am from the light okay now I gotta say that this is too yellowish yeah by the way okay another thing that I'm doing this uh because I wanna just get the values you know light midtones and shadows if I don't see this the I have a value scale here if I don't see the lighter value or the darker one you know that would be like working from here to here okay we gotta use the full value scale because we that what happens in nature you know we see some lightest lights almost close to White it's on darkest darkest Shadows close to black kind of impossible you know to represent that light because the canvas is something flat or big this doesn't have light if I turn off my light here on my little Studio you won't see anything everything is going to get black yeah why because it doesn't have light it's opaque and then it comes the idea about exaggerating things using Color contrast using temperature contrast okay now it's the same for the Shadows so many people say hey I don't like black it's too dark somebody maybe says Hey black is just you know it's too too too dark we shouldn't just but we are not able to represent something as dark as it is in nature if you go to a cave is black that's the options there is no light there it's black for real and no matter how much black I add of this pigment I won't get to the black possible because this is flat it's getting light it's impossible there is a new pigment you know that is being used I have seen that uh it was invented I think uh like four or five years ago it's like a opaque black that's that's the darkest black that exists okay I'm going to just blend this a little bit okay foreign white and kilogram now remember you want some white glow glow I had a touch of yellow for that white I thought it was a touch then the touch is going to make that gold that white glow more than just pure white okay why because uh here's the difference look at this white with a touch of yellow it becomes warm and wait along cool and warm colors no matter what warmer colors are we just pop forward okay okay I'm going to blend a little bit this no okay okay now let's see the darker here he is plug a touch of red Touch of a listening okay let's Touch of Orange now to paint this and squinting down my eyes again you know and thinking about this like a triangle it's easy to copy every time the way I simplify something it's just it's easy for me to copy okay I'm mixing here coming red in a touch of Orange man okay oh oh I want to read some comments uh uh Lolly Luli pup strawberry lollipop I think you know hello just to let you know what kind of brushes do you use and what kind of equipment are you using okay uh first this is a canvas you know it's toned with acrylics and okay I gotta read this Roblox is saying smash the like button of your color or or your color will be for everybody okay I'm using uh and my brushes are synthetic brushes and the brand of my paint is Winton you know that's the student grade or or from of this uh Richard Newton okay okay I'm thinking again let's see okay uh again I gotta uh pick up a little bit of this blue with white I need a little bit here no I see a little bit of that this blue here when I see that I know that this color theory rule works you know because I can just paint following the color theory room and I'm gonna find those colors on nature pretty nice okay foreign I don't feel like a really high contrast I gotta say that that's that's kind of this kind of picture or the difficult ones because it's there are a lot of uh mid-tones you know midtones are just it's kind of let's say easier to see lights and shadows I mean the Shadows are obviously highlights are pretty easy to spot and Shadows the same but midtones that's those are the ones that we struggle the most and a lot of these muddy colors that we mentioned are here on this area okay foreign I'm gonna draw here uh I'm mixing a Listerine cleansing with cadmium red let's see foreign [Music] foreign I need a clean brush okay here okay I think this finger is multi more tilted okay anyway and smaller yeah let's see [Music] um hello Caroline hello chair interest interested to know if you ever painted Landscapes yeah I have been the lambscapes yeah uh here in YouTube maybe maybe not but on patreon we have painted a lot of landscapes I think it's time to promote my okay uh my patreon account you see the link on this the screen uh we have a I have a a hundred dollar tiers where we paint every Sunday for four to five hours one portrait we try to finish up as much as possible one other Prima portrait and then we paint Tuesdays lately we just painted human figures study a little bit of anatomy and you know and today we draw all of them are playing alone sessions that means that it's just like here in YouTube but usually obviously it's a small group and we paint along the the pace is different it's slower we takes a little breaks okay somebody check out the link you're gonna find that there are a hundred dollar tiers uh 15 tiers and nine dollars and a four dollars here for four dollars per month that's the cheapest one and that one is when where we have painted landscapes Landscapes Spades still lives what else a lot of things you know we're painting portraits by just profile views for this month no we cannot paint a full profile for on that tier because my 100 patrons could get mad that's normal you know that you pay more you get more use that simple as that oh and if they say somebody goes and join now the four dollar tiers you can see all the recorded lessons right now there are like uh what maybe 50 oh I don't remember and if you join let's say the 15 tier you can see all the recorded lessons on patreon it does kind of between uh it's kind of 200 videos a little bit more than 200 maybe 200 maybe I don't remember but a lot yeah John is asking me you're supporting your hand uh no to be honest no on on the air oh yeah yeah sometimes I support my hand here on the eso yeah sometimes I on the air on the air I thought I don't know sometimes I hold my hand with my or the other hand uh but I do not I don't pay attention that much to that but I know that I do that now that you ask me John I didn't remember that I was holding I was holding my hand or I was painting with my hand on the air but right now for example my hand is in the air yeah I mean uh uh it's better if you have something you know to just to rest the hand because definitely I could use something if but here and I'm not able to do it I have the camera kind of in front of me and and I have built up some kind of Bridge to put the camera in this way you you have this kind of front view you know and my cheek is kind of you know close pretty close to the camera and this bridge that is kind of in the middle and don't let me to get closer to to close to the painting and I'm working like um let's say from the canvas to my eyes is like 20 maybe 24 25 inches yeah and I cannot get closer than that because of this bridge in the middle so that's the best way that I I could you know put the camera here because I remember when I started the videos I got the camera and I tripod to my right and I used to kind of you know hit the camera with my face every time now this bridge is kind of keeping the camera at least an inch away from my cheek okay let me see okay the hand I gotta move the hand okay it's not there I'm gonna move it like a little bit here a little bit up yeah that's better and if somebody has any question about painting about you know just just let me know okay about materials about things that I use and there are some links to uh some brushes that are not the same I couldn't find the same brushes that I use but the link is just to a brushes that I used to use that are pretty similar to the ones that I use now okay uh let's say that and now I'm gonna start thinking about smaller shapes and with that comes the uh thinking about the volume on some smaller areas for example when I work here the idea about this area is to create illusion that this is kind of swollen here and here okay and we got that just trying to represent a basic form that is something is spherical okay for the upper eyelid where is the light coming from okay uh there is some Shadow here I see some reflected light that is hidden here kind of a bluish you know there is light here there is light here and when we got that usually usually not always not nothing is like that okay it's Shadow here Shadow here okay Shadow here why because this is something spherical and that's the only way to represent something aspherical okay that would be the same for this eye if the light is reflected light coming from the lift there is light here okay don't go with this light all the way to the turduck light shadow okay we can have light here too and we're gonna have Shadow wear here shadow shadow okay this uh the weight will represent something is very good now let's start working some details on the eye okay hello Karen yeah space exploration exported tribute to the queen please okay hey I think everybody's so sorry for the queen say okay and just okay I'm gonna work with this gray my white of the eye thank you foreign key here every time that we paint remember there's a shadow here that goes like this okay I mentioned things I mentioned in things that we see on the surface to understand understand this better we're gonna study a little bit a little bit of anatomy because you know all the ups and downs or because of the bonds and muscles but if if somebody is just trying to paint portraits uh everybody suggests always you know and I suggest the same don't study anatomy at the very beginning basically what somebody needs that beginner needs is just to work on observation and try to you know get a stronger visual memory and then we're just trying to get better at copy because you know this is something that is a reputation repetition repetition and every time that we put a lot of time on this other practice repetition we started to get better at coping okay it does kind of the first step and then then we study anatomy okay that's a suggestion now I'm not saying that somebody is completely free to start studying an army for the first day yeah in any study anatomy and pain at the same time which I think it could be pretty clever pretty clever foreign hello Sylvia hello Mohammed Nikki saying I would love to paint Queen Elizabeth you know or some class with your resume okay yeah let's try it hmm I'm scrolling up here to see if I uh uh look for some any question okay okay okay okay gonna blend a little bit here foreign I'm using this brush that I was using for blending to light up the color but basically I use a little bit of paint just on the tip of the brush and I go like that pretty lightly and light up the color a little bit if I pick up Pure White for for example let me put it here it's here and then light up that but we gotta be careful you know the idea uh on this particular painting and trying to keep all the values kind of the same values and I'm just going back and forth darkening here letting up another place okay that was too much white on the mouth red and orange okay that was too much Orange red and white okay I'm blending here a little bit foreign I just want a little bit of pure white here okay foreign okay stepping back and checking out this area and here we need to see that this is rounded okay imagine that we're trying to see some kind of a sphere beneath the skin if you don't see there that means that we're missing something and definitely that would be about light and shadows and it's got more light here to create illusion that this is rounded foreign [Music] okay okay I move the the contrast on my camera because you know I I saw the screen I don't know maybe my screen is a little bit darker but on the screen I didn't see this white and this kind of kind of pure white it's kind of dark [Music] foreign a little more paint on my canvas foreign mixing just Orange Rubber and white [Music] all right I'm gonna read some questions Evelyn Dominguez hello from Michigan hello Nick is saying this last party service magical thank you [Music] George is telling me it looks like there is some reflective light at the bottom of her chin but I'm sure you have already seen that oh have you not thank you anyway uh different palette knife I'm gonna pick up black romber publisher in Clinton okay it's gonna be the darkest dark maybe here a little bit of coming red okay you know I just say I I think I I need more paint since this the values are pretty soft I don't know why I need I feel that uh it's not like I want to I want a lot of texture but I want to just see here on the canvas take your paint but I'm gonna blend it and just in some areas basically the lights okay clear the shadow always here a little bit more radish here mm-hmm I'm mixing here on the canvas I'm gonna add a little bit of blue light blue here okay oh for orange here you notice the the uh here is is warm and the arm is cool okay I can I can just this blue and white put the light there it's gonna be pretty close okay I see the color is kind of close it's not perfect much but I think it's close enough okay A little bit of green I need from more chrome green a little bit of green here oh that's too light to be darker okay I work on the face I need to work on the face okay you can see first here foreign [Music] okay brand here I need a tiny brush doubles here these brushes are linear brushes are pretty pretty cheap pretty good but sometimes I can clean the brushes and this happens it doesn't matter okay I'm gonna continue buying these ones because I love them you can get just to know like I said uh I used to buy like a dozen like a you know uh 12 sets like this one and for what maybe no more than twenty dollars maybe less than twenty dollars you need a brush like this number zero for blending I think I don't have another one I'm gonna use I love this one for blending always we need to soften edges especially here on the hairline you need soft edges okay foreign oh I was holding my breath a little bit of light blue see a little bit of light a highlight here okay I think I remove this highlight a little bit up and I there and more light here for the upright lead I add always a little bit of Alicia ingredient okay and we need to blend this okay up pretty subtle put this blending here it immigrates the volume of this area okay and the lower eyelid the same thank you okay see Hello Alida thank you or nicotine rental service his aprons but he never wears one oh yeah exploring history saying can you do a painting of a group of people with with some background or of or lamps of landscape oh yeah yeah hello sir I have painted a lot of a lot of commissions oh it's kind of um I don't want to paint more commissions but you know his work is my work so many ideas I remember one one commission that like painting here it was a i when I was in the school of Art one day it was a couple of ladies you know got into our classroom with our teacher they were looking for somebody to paint to you know paint as an abstract painting a landscape and a portrait and you know my teacher she was hey Ryan so go get tone of your drawings or paintings or something to show what you do you know and I went to I remember I think I went to the drawing classroom I pick up some of my drawings they saw the drawing and say hey yeah that's pretty good and I started to to work with them and I remember one of them she showed me uh a portrait painting a really amazing portrait painting uh there was a pastel and she told me like hey can you paint this and I was you know I was in my 20s for me it was like always yeah I can do it yeah okay and she was hey take the painting with you if you want to your house but this is a really valuable painting you know I took it the painting was so hard to do the painting I mean that was my first time working with pasteles and I just you know this painting to paint a commission kind of I was copying and at the end I I did it you know I got away with that but it wasn't it wasn't that good uh one thing I remember that this painting it was pretty soft I remember that clearly on the mouth I couldn't see a line between the lips it was pretty lost soft soft and it was amazing and for me at that time that kind of softness it was you know I did I I did wanted to see I did want to see everything like some kind of softness it was like for me like no I don't I didn't like it it was like no I I want to see as much detail as possible it took me a little bit to understand but anyway I painted the portrait I get paid that time it was like twenty dollars I was so happy and then I started to paint commissions you know pastel pastel portraits like so it was like a couple of years ago I was studying I was painting portraits one portrait after another portrait again and again again and again that was pretty nice but I gotta say the painting portrait is pretty stressful you know so which mentioned people don't care about what you do I don't care about the background don't care about anything that that you do they just want to see the face they they don't just want to recognize the face it does obviously it does that's pretty that's the more important you know about portrait especially a commission yeah and so many times but not so many times but let's say uh every three or four portraits you know I got some somebody says hey this is not good I don't see the likeness I want to see more and then wow I gotta go to retouch it I gotta take the painting back and check out and retouch it I used to measure you know make sure everything measure measure measures as much as possible that's one thing that I learned the School of Art was the first thing just measure and measure and measure and keep measuring and I started to get some money you know by painting commission that was pretty nice about the money but this thing about being stressed about the likeness it was just you know and and what what is it I don't remember it was like a couple of years I painted maybe in that time I painted more than 200 portraits it was kind of let's say faster that was nice I spent all the money what I don't remember on beers Maybe I was 20 21 foreign foreign it's pretty difficult this that's why we keep going back and forth you know has to be darker here and by mistake I make it lighter a little bit of Shadow here to make this rounded soften the edge soften the age the same here you know I'm gonna make this around it okay it goes a little bit of shadow from here all the way down here a little bit and now here it's a little bit of cast Shadow from the nose down here a little bit and definitely Shadow here I don't see it it's not that clear but I mean has to be a shadowed here you know that separates the frontal plane of the nose from this plane here now the thing is how dark I make the shadow this one I think that's okay it looks that's okay by comparing with the photographer it's pretty soft but you know uh speaking about those commissions I remember a couple of times you know some people asked me to make somebody touches the paintings retouches that I didn't like it but anyway I remember especially one portrait of the this person asked me to add eyelashes but huge eyelashes that goes from the eye all the way up to the to the to the eyebrow it was just from the tear duct to the corner of the eye eyelashes just like that was like you know I was going little ideas uh eyelashes I said okay I think that's okay no more you know it looks like you have a couple of spiders spiders there on the eyes no no more and they're painting really black and she was darker yeah and I painted it she was like um yeah I love it they will now sign it you know I was thinking to myself that was I killed the volume of the ice you don't imagine eyelashes like that wow that was I ruined the portrait she made me ruin the portrait I remembered she was she was like you know I'm gonna show this portrait to my friends and you're gonna get a lot of commissions pretty sure and I was like don't show that to anyone you know inside myself when I was thinking about don't show that 21 I mean there was an exaggeration I don't know why I don't know uh and I remember another time that I painted them a couple you know but I didn't see I didn't I didn't know this guy I just knew his wife you know and I painted this couple and she was white and he was brown just like me you know bro and I painted both white pretty white yeah and then even I think even I put it you know like brown eyes like kind of transparent eyes both of them and she was really happy with you know her portrait but she was kind of you know my my husband is not like that you gotta just you know change the skin color change the eyes you would look at those eyes you know those transparent brown eyes he has black eyes and I was like okay okay and then I saw him and then she was just like me you know bro and he just stare at the portrait and he was like I love it and she was like what no no she has to retouch it no I want that proteins like that I love it okay and that stayed like that that's pretty funny and a couple of times I painted like different eyes you know uh like I remember I got I was painting a portrait in this person she was pretty white with blonde hair and the photograph I think it was like like a black and white you know and I put kind of green eyes and she had brown eyes but at the end she was like Hey I can keep you know keep it like that I love it and say okay you know well it's been two hours oh I'm getting tired hello Majin thank you hello Mr search oh [Music] and I don't I don't even remember but there's always something that happened with a with a portrait something does something sometimes was kind of sad you know and there's always you know I I painted a guy that he he passed away like a month let's say and there is it was his wife and she couldn't control and she kissed the painting and the painting was kind of wet and sonarious you know and I saw her with the mouth with a little bit of paint and she was crying and I was like hey oh you got there was someone to tell you no you got painting on the face but I said no I'm not gonna say anything you know first I'm gonna get paid that's so terrible you know I got paid I ran away I left here with the face with a little bit of paint but I gotta say the the difficult ones to paint kit oh my God it's just the first we've all did the things about painting a kid that getting the age first you know second going uh speaking about when I I had to retouch it that's terrible but you know what uh this thing about painting I could say that kind of stressful about this painting portrait but I think it's just a beautiful work beautiful job yeah definitely and no stress that much like maybe like a some some somebody with a a big company just dealing with you know all those things blending okay just a bug and like it you you need any more light here okay okay the mouth is kind of you know it looks like a front view you know if I cover everything yes that's not okay they need to work on the mouth foreign to the opposite direction because it was like on a front view I didn't notice that [Music] okay I need to step back oh yep everything that's okay foreign foreign foreign okay let's see some comments Caroline says give me how long will it take to dry Maybe I don't know maybe four days counting that no maybe more maybe a week because I got more paint on kind of thicker paint you know on the hair okay this Shadow is a little bit darker I need to light up that need a little bit of light here hmm do I need more like it's like in the nose okay I'm gonna blend this little bit of ultramarine blue and white I'm gonna knock down the color here okay what do you think I add more color to the background green maybe make it more greenish what about the edges okay definitely it has to be a lost H here and here soft okay then I'm going to pick up some white and I'm gonna I love this kind of blurry effect I think that's gonna help it helps to create more you know to make the whole faces coming forward what about some cerulean blue on the sky because I painted this ultramarine blue and to be honest that doesn't represent it looks like a cloudy day with this you know uh ultramarine blue what about a little bit of Cerulean maybe more blue here okay uh another thing what about if I darken up here just to create more contrast yeah if I make the background even darker I would see more light here definitely look at that darker with some more light just simple contrast okay you want to see light you need shadow if you want to add even more contrast if this color is warm it could be cool okay I don't like to paint ears she looks like peaches and came on the lake summer day hello Alida we're gonna pick up um a fan brush look up here from brush I need my white foreign to soften you know the uh we're gonna create some thickness on the upper eyelid and in this smaller space to create that effect the only thing uh I can use is just softening the edge because a sharp edge is definitely uh creates a different effect okay uh soft age it can create illusion that the form is turning and that's what I want here the same I'm gonna surface on one side surfing here okay a little bit of light here there's always light shadow and a reflected light okay there is a reflected light here in here that that's the thing that that's that's the problem they say that uh the refrigerate is not as light as a as the light that means the reflected light will control this value as much as possible and have a difference here has to be a little bit lighter than the reflection okay okay there is a little bit of light around the turduck a little bit in Shadow in that shadow that to complete the volume on the eye of the Shadow below the nose here my eyes and I see a shadow below the nose the thing is as I add continually painting kind of a lost some values I just gotta just put them back I'm pretty sure I added a shadow the cast Shadow from the nose phew [Music] what time is it oh I'm feeling hungry Nikki saying the background is soft and not at all intrusive by still intriguing yeah the focus comes beautifully to her eyes great work thank you um red I need a darker red I have here dark red deep let's use this one a little bit darker than the other it's gonna be perfect here for this brush is not pointy enough yeah this one maybe this coming rate is deep is pretty good for this okay this paint the ear let's see if this color works for the ear with white oh no okay I have another right here coming right deep too okay too many cabin red dips this is just cutting bread prefer this one is yeah it's pretty nice this one I'm mixing with a little bit of orange it was here okay foreign foreign apparently I like it uh you see this light here on the arm pretty white and white here okay I'm just thinking you know I I love the photograph but uh I think it's gonna be okay if you skip it yes like this no no I need to make it thicker well the arm is just too thin but uh speaking about in terms of about this the light let's turn light maybe I don't I don't need it oh foreign thank you mm-hmm okay I need to add more light this finger here here and here okay mm-hmm Nikki saying he's bringing his orange accent now exit in now my favorite color orange garu say do you feel that you might be losing some definition in her left arm without the stark contrast yeah maybe I I I have left list uh definition here because I don't have this bright light on the arm and I doubting about point that pulling that light I think it's it's beautiful you know everything is beautiful about the photograph if I copy everything exactly it is it's going to be it's gonna be pretty nice anyway it's just you know it's just a neat like or change something I don't know maybe I shouldn't think too much about that it's just like uh uh when I I try to analyze my painting alone without comparing with the photograph and I see the painting alone and I think hey uh what's the focal point obviously the focal point on a portrait is gonna be the face you know always but let's say I think about that I think about accents I think about contrast I think about ages you know this lost age is perfect here okay here too kind of a sharp edge here and here lost Age Again and uh I'm comparing to to see if I got the the the no the values are pretty are closed uh [Music] okay I'm just going to know my eyes and complain again I'm gonna add the touch of uh here I'm going to make it lighter I'm adding more white and mix in here okay okay I think a little bit of light here just here yeah I clean the brush and I blend a little bit okay a little bit of light there what else um there is Shadow here and there is light on the background here in this area I was thinking about the more green but you know the image has some softness that if I add more contrast I think I'm gonna just keep that that softness here making this dark I think it was necessary to see this bright but no more no more yeah now um a little bit darker here about the the blue in the sky is something that I think that's okay yeah I don't always thinking you know about repeating the color if I see blue here I'm tempted you know to add blue in another place uh that's something that it is it's just I'm pretty sure it's because you know uh of my education as a painter you know remember a teacher he used to always put a lot of emphasis like the colors of the background it has to be on the subject and the main subject because I just squeezed those colors always maybe I'm thinking that I have repeated that so many times that no I cannot see a color alone I feel the need you know that look I'm gonna pick up and put it like around here to do something like and then say oh well yeah now I can breathe now it feels it's complete even that uh it's not like an obviously Harmony is about repetition like music Imagine music you know and this is something kind of similar for painting and when I see a color alone I feel the same I don't I don't I don't feel the harmony and I want to see the harmony okay no too many details I'm not gonna have enough time to finish up all the details for example this hand I gotta put more work and when you have an image like this where this hand is pretty soft no okay I know that I gotta put extra work here when this the values are pretty soft foreign okay a balance balance yeah she was asking me the paint from real people sometimes not for the picture another question here Salvador so can you make a video making portrait using acrylic paint yeah I have uh some of them in my my YouTube channel they have painted a lot a lot of you know from real life yeah not lately not I mean maybe in Gears but I painted a lot no no in Gears and you know I forget that I worked as a teacher for a year uh it was about four years ago and that year I was doing a lot of a lot of demos life demos with a life model yeah that was pretty good for me you know I get paid I do what I love and I train with life models hey perfect uh like uh maybe the question goes about what's the difference so if it's better to pay in front life models yeah to be honest uh but I don't know I I have here you know I have seen the same videos that you will see you've been watching and I have seen that recommendation a lot painful life you know and maybe that's gonna sound different but there is a difference that you paint from life but like if you're training if you're trying to paint board that I think it's better to paint for a photograph would you practice because it's kind of annoying when you paint from life and the model is moving or removed you know it moves a little bit and when somebody practice what you need is something stable you need to you know it's about practicing it's not a challenge and painting for life is let's see there is always a challenge because the mothers the model is moving always even a little bit but it shows a different angle like every every second and as a practice you know about values about ages about all of those things I could do the same if I paint for a live matter or if I paint photograph for for the photograph because a lot of those things uh are part of my knowledge you know those are things that I choose to do but not necessarily I see then not in the photograph not in a real model okay just I choose to soften some edges yeah now I would suggest I can say that that uh we need always it doesn't matter we paint from life or from a photograph the knowledge is going to be the same always about respective values as much as possible ages temperature Harmony all of that is going to be the same okay and sometimes uh it's easier to control that would be painful on the photograph sometimes it's easier yeah sometimes you know uh as a as a practice you know I have found so many speaking about landscapes I have found so many Landscapes so many photographs amazing you know that just to paint we have an opportunity to know just painting from the Beautiful images and to get to get something like that for nature it's not that easy okay you take a lot but take us a lot of you know looking for or making our own compositions and when I remember when I was I went to uh there's a painter uh the city that I was born he was pretty pretty good painter he loves to paint Landscapes and I went to paint lamps case with him like a couple of times you know you're gonna see a difference from the paintings that he painted in the real life for the images that he's for the painting that he painted and his Studio based on photograph it was the same it was his style and he always exaggerated a little bit temperature contrast and we did it that it's just like it was you know that contrast it was with him it doesn't matter if he was painting the cloudy day he always put a little bit of that a little bit of the counters come out always on each painting sometimes it was you know it was more it was less believing in a cloudy day that you you could be next to him and say hey are you painting the scene that I'm painting because I don't see those colors for him it was always about warm lights and cool shadows and I remember thinking okay this guy kind of looks like half he paints what he knows or what he wants and just half is what he sees you know it does the scene when we paint that's just it was for real life that's the same way we paint from the portrait from the real person definitely when I have painted from real people from the life model I'm doing the same I'm putting the same and suffering in some ages on purpose and exaggerating maybe some light on Shadows on purpose I changed the background on purpose just to to add more color you know making the lights a little bit warmer for cooler on purpose it's just like you know you uh I'm trying to make my painting more beautiful making those changes you know and that's what this guy was a master on doing that in that time I was maybe it was 20 more than 20 years ago I was but his side watching him painting you know because I was painting with him at some point I'm not gonna paint I'm gonna watch him painting because you know he's this guy was it was four years older than me and he he he had another a lot of knowledge and painting next to him he was kind of wasting my time I preferred to watch him painting and every time not three or four times that we went to paint it was the same he was just like he wanted you know the Landscapes what he what he was watching in front of him he was just I don't know just for the values I would say light and shadows and then he changed always a little bit of the color he changed always a little bit of contrast always he end up always with a few reform painting he used to do that with portraits with Landscapes with everything now obviously there are different painters there are other guys that they prefer just to copy nature copy what they see they know as much as possible to be try to be pretty accurate that's different that's different yeah I'm not saying that one one way is better than the other it doesn't it's just like painting is there we have so many options and we are always free to try different approaches we can try to be to create that photorealistic painting or just uh interpretation you know we just try to keep it to copy the likeness or just use the photograph as a used to you know within with not any intention of copy the lightning just copy values copy the polls and change everything and purpose we are free to do whatever we want okay I think I need to reduce the chain I'm having a problem here with the chin [Music] okay I'm going to the end uh do you put your brush in a solvent to make it more liquid when you're doing the hair sometimes sometimes I add extra linseed oil to make it you know flow a little bit more sometimes well not today today the hair is just uh you know it's too bright that was kind of a mess here but from the distance represents you know the the hair but I didn't I didn't add any detail I'm gonna zoom in see if it's not possible to see this here you know it's just brush Strokes I got the painting a little bit thicker you know on the on the highlights to represent the highlights but there's not too many details here you just just to make it work from the distance and I try to get as much as possible in you know three hours now I saw this really close on the on the on my window that I saw this clear kind of flat and adding a little bit of light here they think that's it for today let's read let's let's read some comments please speak Russian okay I think that's it for today thank you so much for being here your and let's see uh you know I love this one maybe I'm gonna paint a little bit more of tomorrow or the day after tomorrow I would love to promise that I'm gonna create a second I'm gonna paint or make a second session here I have promised that so many times and I've broken I have broken that promise so many times okay hey that's it I gotta go to it uh Nikki saying you always make each painting special with your own signature style of color value Harmony thank you I like when you say bye and stay a few more minutes yeah I always you know I I knowing that I'm gonna turn off the camera and I'm gonna be able to fix anything that makes me just to uh you know I feel like I can start looking for mistakes everywhere and yeah definitely are gonna find things definitely if I keep looking mistakes I'm gonna find them you know or it's later where it's darker if something is off I haven't checked out with a mirror today but that's something that we gotta do all the time in YouTube basically what I do is uh you just capture my screen and see my painting on Photoshop you want to see you want to see it you want to see me see see me doing that do you want to see it raise your hand too late too late okay thank you so much everybody take care your see you next time bye well Caroline is telling me if you wanted to good you want to you could say something about glazing yeah for glazing the painting has to be dry completely dry try to touch that means for this painting it could be a couple of weeks at least foreign bye that's it for real I gotta go

Channel: Renso Art

Views: 30,303

Keywords: how to paint a portrait, painting portrait

Id: kEGE7L3S3gM

Length: 187min 40sec (11260 seconds)

Published: Fri Sep 09 2022