How To Paint Portraits Part 2 What Beginner Artist Need to Know

[Music] class two on the portraits how was it this week to do your portraits terrible who was that so what was what was so terrible this time you enjoyed it more she enjoyed it less you enjoyed it more and you two were in the same room painting at the same time so use the prospect yeah and did you hold it - you hold it up to your face yeah how did you find how did you find using the mirror and the prospect together you're shaking no she's saying it was fantastic you two were a foot apart from each other why weren't you like working with each other making making it work what was your issue with it I wasn't getting the proportions right dimensions and you know I have to say that I think I'm pretty darn good in the process but it has to be a flat surface on a photograph yeah you know the prospect do you have one handle on your varnish so yeah the using the prospect the best way to use a prospect is setting it on on a photo and using it now you're using it like that right and you enjoy that part of it how do you think it's a great tool and you're showing it to your granddaughter like yeah yeah I don't know if this would be like in every school it's like this exactly it's it's it's really it's really the good the best still going very few teachers use it and it's amazing when I started using it they didn't even make him out of plastic they were you know metal and and very very expensive if they're primarily we're drafting tool I said for for the amount of money that is everybody should have one but when you're when you're working off of a picture to a painting you can measure it and then get two dimensions and and basically the proportions that's what you want but when you're looking at it this way now they actually advertise that you can go outdoors and and draw so like if you want to draw a little a lighthouse or something you can put the little lighthouse in here close one eye and then take this measurement and put it right onto your canvas but you know the problem is when you're painting you know most artists drink so they kind of down below though step out of place it's hard for them to you know it's like good thing cops don't watch them climb into cars after the turpentine effect but you know they close one eye and they they measure and then they try to do a larger thing there and then you're bound to step back at some point or move around or ork off or Oh where's my pencil and then you're here and then all of a sudden you're here again and then you start measuring again you go oh shoot that's then you start doing this and then you know and then you start losing your way well yeah yeah in the mirror you only have a really short distance so so if you're off a little bit it's a lot on your canvas and that's where you win a stretch so this tool isn't necessarily that great for it now there's a couple of things that you can do if you were in a studio you could actually set up a piece of glass and actually have the piece of glass seen that thunk yeah and so if you're looking through a piece of glass you could go like this and hit the glass and then hit the measurement and then so this thing is always hitting something so you'd have to rig up something in front of you the mouth you know and the model or the mirror so you'd have something like that you could also conceivably actually put the disks right on the mirror and yet and touch it but the problem is your head goes back and forth so one thing I would recommend in the province too is is you have the tilt factor nobody ever said this was going to be easy so what you could do is you could put a black dot in the center of your forehead and then a black dot at the bottom of your chin and then look at the mirror and tilt your head and say okay that's where I want it and then you carefully mark the mirror and line up the dots and put the two dots or I'm full of good idea so then you can now you can go and fix yourself a martini and then come back again and then just line up the dots your husband will think you're you're looking silly walking around the kitchen with two dots on your face but you can just line up the dots now if you're too close to the dots will line up and if you're too far away the dots won't line up so you could slowly get your head in the right spot and tilt it and match those dust again and then there you go again you you're ready for it so that's one thing and then you can touch the glass and do that as long as you keep your head like this it's not an easy thing but you're also beginning students at some point what you'll do is actually sit and draw yourself and you'll use the prospect for proportion one of the things that you may want to do is that it's because it's so difficult to use a prospect or self-portrait what you may want to do is use it as a measuring tool which means that you really don't use the back of it at all and you look at the mirror and then what you'll do is you'll line up your eye and you'll measure that and then in the mirror yeah and then you you can go across and usually this side from this here to here is the same distances from here to here and get you here so you go one two three now the good thing about doing portraits is that there are certain common things like I just showed you this eye here is the same distance as the two eyes apart from each other which are the same distance here as something good to know your head is from the top of the head to here halfway is usually about where the eyes or the eyebrows depending on what what you do now I've got these really heavy brows and one thing that I noticed with your portrait today and you weren't even painting yourself you're painting Leena Dietrich is that the portrait you brought in today look like you well but the thing is the thing is that's very common is that we are very familiar with our faces we see our faces and look at faces especially women they spend a lot of time fussing with makeup and things like that so they're very familiar with this whenever I paint something because of my heavy brow even like little tiny kids that look like cherubs with really bright eyes they end up with these really heavy heavy eyebrows they look like very angry cherubs so you tend to reach into those features if you have a heavy jaw your your your portrait so you kind of have to watch out for that because while you're painting another person's portrait you tend to superimpose some of your features and just realize that happens and for you it seems normal because for you that's how it feels to you but to the person you're painting they'll come back and go my eyebrows aren't that heavy so to to use this as a measuring tool and then you can use this and then you know measure the nose from here now one thing we're noses become a problem it's because they come out you so when we actually look at a nose this way it actually is a certain length and oftentimes we'll put that length on to the painting but realistically this length shortens because it comes out at you it's actually foreshortened so that's where people run into a problem and they're drawing their faces it's because they think the nose is so long but they don't get that it's tip and the foreshortening on anything perspective is amazing you can make something go into perspective in a very short distance and so that and then what happens is that they start getting really noodley in the nose and this is even what happens with animals too you start really paying attention to the nose and then you always like you come to class and go oh my god I've got a pig nose on my my portrait are on my cat and the issue is is that yeah you get anybody that looks up like this you are looking up in their nose and if you bring a lot of detail up into there it starts looking like a pig nose in fact if you actually stare at some noses for a while it starts looking piggy to fly if you ever go on the first date don't ever look at it guys now this doesn't go like an it's the eyes that people look at so what you always wanted to do is always blend the nose down take out the take out the edges to soften the inside don't make the two black holes um those are kind of little secrets and then with the mouth too because the mouth is kind of always moving and we have people kind of are told don't stare at their teeth or you know and if somebody does and you know this when somebody you're having a conversation with somebody and instead of looking at your teeth you start going got something in it it's like you know you said guy because I mean and and look at what a little distance that is from the eyes you know so when we look at the eyes we feel comfortable when somebody's looking at your nose or your mouth you think something's askew yeah and then remember we can't look at both eyes at the same time so you're going to be looking at one so basically a face gives actually a painting of a head with one eye if you really think about it that's what a portrait is it's a painting of a head with one eye one eye that's in detail that you bring the viewer in the second eye less detail softer edges no softer edges yet and then mouth also remember that you're always seen in a mirror image of yourself so even though it looks good to you everybody else will tell you right off the bat it doesn't look like you and you'll look at it and go wow it really does look like me I look in the mirror that's what I look like I don't know you look like that Kaneko what do I look like the Dior in Reverse so you want to make sure that you always have that in mind when you're doing a portrait or self-portrait nobody will like it but you the good thing is is eventually you will be gone and the portraits live on like Rembrandt and people will come to the museum and they'll just adopt that that's the way you look so the hardest the hardest measurement most portraits we're more supporters fail are from the bottom of the eye to the mouth and usually this gets extended too much and was its but most of this gets extended too much because you're compensating for the nose and so usually what happens is you draw the nose down like this you know from the shape to the shape because you think it has to be that long and then what happens is that you move the mouse down and chances are abused it gets like that so usually the distance from the eyes to the mouth is where the most mistakes are made on the portrait also surprisingly most mistakes are also made on the 3/4 view we have a little bit of the side face in here you have a full-on faced on this side and over on this side what happens is that students have a tendency to want to pull this forward a little bit so you can see the full eye and then they kind of start painting a little bit of the dough foreshorten it enough but not enough I mean there are times when you go just slightly at this 3/4 view and you actually the eye actually is silhouetted against the wall not even this side of the faces so that's usually a big problem area in there too so don't get boggled down on all this stuff and first thing what you want to do and this is what I was trying to tell you don't start off painting people you know that's the kiss of death if you want to become a portrait painter paint everybody portrait that that you don't know through magazines get people homeless people that's it for you people who you know you just don't paint anybody you know and the biggest mistake that students do they come in and classical I want to try to push it and they bring in a portrait of their granddaughter you know and then they sit down and then they start painting it and 3/4 the way through it starts getting to the monster phase and then they start screaming and they want me to come over and fix it for them and then they end up going home with a portrait that I painted up their grandkids with really heavy brows so you don't necessarily want me to paint them either but you can paint your grandkids when you know how to paint portraits but you've got to learn how to paint portraits portraits are difficult the main key behind portraiture painting is drawing that's the key if you can draw you can get a likeness if you can't draw you'll need to practice and eventually you'll get it you'll eventually start seeing what's in front of you and you'll start drawing and doing it well so it's just practice and you have to be willing to let go if you paint something and it's not working drop it try another model drop it try another model try another palette try other colors although I I do have a lot of my students and a lot of people that I coach online are doing portraits right now self-portraits and they're using the table yellow green and the alizarin crimson with white and they're getting really beautiful results with it so just those two colors you're not using those combs yeah fatal yellow-green which is a kind of like a like a granny smith apple color and alizarin crimson makes a really beautiful flesh color you can almost use your pure for the shadows a little bit more white and the highlights I introduced into that a little asphaltum because I love asphaltum and that gives me even a little darker value than what those two colors actually make and then I introduced to that a little is in crimson why Havel isn't isn't already in that but then I introduced ultramarine blue and so ultramarine blue will actually get you kind of that more gray or shadow kind of effect to it so you get a little blacker effect and a little greener in some spots too it's actually like with four colors and white you can get a really good portrait but the main portrait area is done with green and red and I can't tell you how many students that start working with that color and and I'll go well what are you using and they're gone well I didn't see any green in the face so I just used the lillas and crimson which is real pinky I feel that happened with Beth and so so I said no no no you got to throw you got to mix the two colors there to get the flesh color otherwise it looks like they just came out of a tanning salon but it's with a tanning booth that was out of sync so you don't want to get that Lobster fakes like that so you do have to get the green in there that gives you that really nice flush Tom all right there's a really nice portrait this week where do I start keep in mind when I give this homework assignment I'm not actually asking for it self-portrait in a way it's kind of misleading I'm not asking for a self-portrait I'm asking you to actually draw a head and the issue is a heads the thing and we don't think in things so I'm not even asking you to paint a head I'm asking you to paint a a shape that captures lights and shadows so ultimately that's what I'm looking for now the students that I coach with a lot of them painted and they didn't have any highlights and shadows and I said well why are there no highlights and shadows makeup well that was just my first layer and I you know just kind of laying the beginning flush color and I get that and that's kind of a way to do it but will in this class we try to paint a la prima so what we want to do is we want to paint lights and darks at the same time and ultimately a portrait that looks like a photograph of an image of somebody that you know is boring I know this is when I was at the academy of art and we were asked to do our self-portrait I did that I drew myself in a mirror I spent the entire semester so that I wouldn't look ridiculous to make sure my drawing was perfect just to see people who had fabulous creative ideas actually go away from the line and actually paint the surface and the surface meaning lights and shadows and in my classes lights and shadows are everything they actually create the painting and if you do licensed shadows really well nobody cares if it looks like you at all so like in this painting you just have the drawing but it doesn't have the characteristics of that so you know when you set yourself up just like with its still life I asked you in a Philippine I asked you to you know move it around till you get a shadow nose or something that looks interesting then that's what you want to paint is the lights and shadows and lights and shadows and lights and shadows and like the shadows and people forget that when they do a portrait because they think of portraitures being like selfies you know or even the Sears Roebuck because there's no way that Sears will put you in this kind of severe lighting but you know who does is Rembrandt you know that kind of lighting in a painting is really cool so you want to break away from that Sears Roebuck paid portrait or a high school yearbook portrait thing so you always want to make sure you have lights and darks and whatever you do so you are they still like that you're lighting up and you need to move around move your lighting around till you get that that story because out of that it's it's blonde it's boring to look at a portrait like that the artist that really did well with portrait painting where the the old masters that did experimental I'd like Rembrandt you know back then in Rembrandt's era there was no photography and anybody who really had any kind of extra funds had portraits painted of them and so there were thousands and thousands and thousands of portrait painters at the time in fact if you go to downtown Macy's in their furniture department it you can buy a lot of these old portraits that you know we're early American portraits and stuff they're not done by noted artists at all so they're affordable but they still were doing it and they were doing portraits on porcelain on portraits them but the thing is you never see those come up on antique road show because there's so many of them they have no value to them whatsoever but periodically you went into a really great portrait and somebody who does a really great portrait actually it's not painting a portrait at all they're painting a work of art that consists of lights and darks and shadows and transitions and all the things that we talked about done on a shape that has a nose eyes and mouth their focus is and to render somebody but to create a work of art that stimulates the viewer like they feel like they're looking at them right now that they're coming out of the dark and to do it in a way because I talked about getting the center focal point you know when somebody comes knocking at your door and you open up the door and you're not sure who that person is and they're carrying a suitcase you don't know what they're there for so the first thing you do is you look at their eyes then you might glance in their hand to see you know that a vacuum that they're selling or Fuller Brush or is at the Mary Kay or whatever but you go back to the eyes again you're not spending time looking at the nose in the mouth and the ears you don't pay attention to whether their hands are hairy or not or whether they're married or not or whether they clean their fingernails but you know when we paint portraits that's how obsessed we get with that when Rembrandt painted a portrait it was purely about lights and shadows and how you work with that checkering becomes really important if the light comes this way on your face and some of you did this with your backgrounds totally totally lost the whole concept of checkering lights and dark so if the light is hitting my face this way I want a dark background over here but where my dark side of my hair is is on this side of it where it's not getting a light I want my background to be light so what happens is that this looks like I'll almost like a little bit of a halo I know most of you are blinded by my halo when it comes to clouds but yeah but the thing is the back wall should be illuminated on this side so you could silhouette the head and you know how we talked about check rings we have dark with light in the background and then where the light is here we darken the background in the middle they kind of skirt each other if you look at Rembrandt you'll see that's exactly what they did and creates a tremendous contrast and if you do that the painting looks like it's stitched onto the canvas it actually belongs there if you just paint a flat background and you pasted your face on it it looks like so you've cut it off of a magazine and glued it on and so when you have this it kind of a little bit like a mug shot the only thing we're missing is a few numbers here so I can't tell which way the lights coming from but let's just say if the light's coming from this way this all should have been a shadow and this should be apparent from the beginning of your painting so even if you say well that's the preliminary sketch the preliminary sketch has to have all of this information there on it so if the lights come in this way we want a dark background we want this side of the face and shadow and we win the lighter background here so we don't want the same color going all the way around almost every one you made the same mistake also if the lights come in this way this side of the nose would be have a cast shadow and so this is why it's important to look at a face as as a light and dark mass as opposed to drawing a face it's up and if you're actually drawing this to begin with you actually don't worry about the eyes than those in the mouth you just look at it as a surface that has a lot of peaks and valleys so it's almost a landscape so what we want to do is we want to create dark shadow cast shadow of the mountain here cast shadow in here now you've got in this particular section here you've got the shadow of the eyebrow the eyelid the eyelash all of that is created to protect the eye from light and so all of that all this gizmo here that's hanging off of our eyeball here that's all here to protect life and so anything underneath that which is your eyeball is going to have a cast shadow and very very rarely do you ever not have a cast shadow you almost have an up light to get away from the cat shadow so half the eye is usually in shadow on this side of the face I would put the whole eye shadow and so before I even start painting I would actually just darken that and dig that in I would also darken this here because of the the protruding bone on your skull your eyes are set back a little bit digging some shadow in there and get that and what I like to do with the pinion is to kind of lay there's a base color in and then just start digging darks and if you've ever done sculptures you have a round thing of clay and you push in the eye the eye sockets you know there you push that in and then you pull out the nose that's almost the first thing if you watch a sculptor they push that in and pull out the nose and that's what you're kind of doing with a painting at the beginning is push in the eyes and pull up the nose and you do that with a highlight and shadow so let's go in the shadow uses the pupil I make the pupil larger to begin with because if your pupil is larger it relaxes the light if I'm standing like this under light my pupil gets really small right and if I do that in opinion it looks like I'm like coming off of some drug or something like Marvin or something in my eyes are going my parrot used to be able to do that these are the people choose to go crazy but um so you want to make sure that your pupils are bigger to relax the eye and then I always try to get the pupil almost up against the eyelash and then I blur the top of the pupil because I don't want to have that round shape in the middle of my iris okay so like right here see this round shape so I take the the pupil and attach it to the eyelash in there I put the shadow in for the nose eye shadow this whole side of the face shadow this whole thing down here once I have that face with shadow shadow shadow shadow shadow I go into my main focal point and this is really an important key don't start painting your background and all that once you have that mound of all those lights and shadows then start with the eye because the eyes is main focal point and put in that iris and I put these two irises in boom-boom and then paint them they don't have to be perfect that they have to be established and what that does is first thing if the head is tilted you can see that right away instead of fussing around and some people leave the eyes to the end and if the eyes aren't exactly correct your your model will not look right and so to allow the eyes to to find their place in that whole thing is really really difficult and then to know that it's actually the right proportion to the nose and all that becomes difficult but I suggest as the bangbang but the two irises in make sure that they're tilted or not if they're straight go and put the pupils in and once you have those two marks in there now what you can do is you can start gauging the rest of your portrait using these shapes and so now everything is going to be correct so you gauge everything off of where those two eyes are as opposed to having no gauge until the very end because the eyes are the ones that eye is really the key to getting things done so you want to get the eye it's correct then you want to go in once all of that then you want to go in and make one of the eye really dominant the eye closest to the light get the light into the iris get a little highlight in there remember the wife of the eye are actually the flesh colour with more white and the color of teeth is flesh color with more white it's like the white this thing on the portrait but they're not white white I suggest painting portraits with no teeth because it's a paint oftentimes they look like a mouthful of chicklets that if you are if you are painting the teeth you want to go in with the darkest color first just dirty of all the teeth into a dark colored shadow and then very carefully add to the flesh color a little bit and just highlight the tops of the teeth to give them a little rounded effect don't worry about separating when you start separating then you start getting the Chiclets and we don't really look at people's teeth separation yeah you're going to do hands don't don't have your hands look like this is if you look at anything at hand very long it starts looking like a claw so you always want to make sure you get your hands together like this and always tilt them so it so it's good to have them stick like this some kind of try yeah if you end up doing something like this it's going to look like a claw if you're going to look like this it looks like a lobster claw so you always want to make sure that you tilt the hand back Cup that the hands tilt them over so that you can kind of avoid these things now if you become a master portrait artist you can try to take on this you know that kind of look but if you're just beginning it's best to tie it together and then when you're doing the fingers paint the shadow area first flat zone shadow area first and then just highlight the top don't dig in the lines between the fingers you want to dig in the lines before the things then it looks like somebody made a mat of wood but if you kind of do and this is what the impressionist did was that they they said that on you what you do is you paint like you know there were painters of life and so they would paint the form and then they would put light on where the light hit and the viewer would automatically form the rest of the hand so you don't have to paint every finger just a light fitting the second so now we have another one here it's almost funny the person that that does it they always feel really uncomfortable and they went to giggle and laugh it's fine yeah this is a pastel yeah so last night she yeah that's what my students do last night she was in class she says what's the homework and I said it's a self-portrait and she looked him and I said you got to go home and do it she says yeah hmm so this is her after class like it's 10 o'clock at night so but you did it in pastel and the thing with pastel and watercolor is that the techniques that I teach are the same so you would use the same techniques in doing pastel and watercolors ultimately when you're working with the prospect it's a great idea to use a saying but ultimately you want to look at and go come on what is what is the proportion and use your basic drawing sense and so I think you almost relied too much on this and not enough on you and I would probably suggest somebody at your level of painting should probably freehand draw it first and then use the prospect to correct it okay because I think if you would have kind of stabbed at it just freehand draw you would have gotten the proportions relatively correct and then if you would have started putting this over if it would have really shown that there was a problem you could have corrected it you would have looked at it now that's not like that I think what happened here is he didn't quite step back enough from it just to and compare your drawing and see if there was an issue kind of looks like you just kind of work right up into it and so you become you know even the fact that you mentioned something like that means that you mull did over too much you've got to kind of be a little bit more like a passerby you kind of pass by the nose go to the mouth go to the eyes and pass through the nose again because that don't try to finish the thing and finish the thing because then after working on it to finish it if I came over and said no the nose has got to be bigger you're going to look at me like I spent three hours on this nose and you're going to tell me now to change it that's a really good point if you're painting a portrait don't own any of it at any point now the way that Daniel Greene works and I've talked to him came over to my house for dinner once and he's one of the best portrait painters in the world I mean he's really especially as a portrait teacher he sits down with a model and he sits and draws the model the first sitting and then he'll put a coat of paint on and then he sends the model home and then a week later he calls for the model again puts her back in the same or he back into the same position adjust as best he can and then he sets that to redraw the thing he just drew now Danny Green probably draws a portrait in his sleep perfectly he'll probably draw somebody saw at the grocery store for a second to be able to draw because that's all he does is portraits but he doesn't take that for granted he sits in he redraws that thing is if it were the first day and then he paints it again then he sends the model home and then he calls for the model again she sits down get the face going and he redraws it a third time three times and every time he draws it he draws it as if it's for the first time so it's okay to redraw and redraw in redraw it's not okay to obsess obsess upset and when you obsess like on a mouse on a nose which is really not that important what happens is that it starts getting more real and more vivid and then nose starts to go like this and you start getting not selfish getting stiff and you start getting angry at the thing because we don't look at noses and mouths and you become obsessed with it and all you can see and then when you go to show your husband yours ah it's an oath isn't it yeah and so what you want to do is you want to obsess with the eyes because that's really the most important part of the painting come visit the nose visit the mouth this is the ears visit the hands go back to the nose go back to the mouth go back to the years just never really finish it if you look at sergeant's portraits most of the faces and done the eyes are with the rest of orange so just really important to even notice her nose I mean you really don't even notice that there's no nose there she'd be and that's just how we see things so we didn't even like a look at it going oh my god because we obsess with the eyes and they have and some of the lighting and you don't even notice that the nose was not even did you notice the notes of them there that's all you need if you came in this classroom and you had no nose I would go hey there's an you need to go see a doctor there's something problem but you know you come in I don't judge your notes because I'm looking at your eyes I'm knocking you know so so the only people who really judge people's noses are people that have problems with their nose like yeah they want a nose job and they've got a real honker they like mull over everybody's noses but this is kind of hanging out you probably want a little bit more detail on it but it's surprising that we don't really make an issue about it your lips they're there they're not mold over your eyes definitely have the problem in here I think this eye seems dominant and I kind of like that in comparison there so I don't even really see a problem with that on the head you have a really nice start yeah this is really difficult to work with as far as self-portrait um one thing you have the obvious thing is that this eye is too high it should be lower that to match out you know when you reduce self-portraits like this you get this staring look that can't help be helped and that's how I can see sometimes whether or not students actually painting from a mirror or if they're painting from a photograph because we're doing a photograph he has its young but with a when you sit self-portrait it's like at first you're like that and then an hour into you're like you know so you start changing your faith what I love about it though is is there's a lot of emotion in this her brush strokes are emotion she looks like just a very casual person that's very very intense she know very intent she seems to be somewhat of a quiet one here we have our hair up she usually like covers her hair down so she a little bit more aggressive but the characteristics look how beautiful that nose is the lid actually if we end up looking at all that here this is really beautifully done beautiful effect of light I would love to see more shadow in here yeah this is again we don't want to concentrate on the face we want to concentrate on the effect and when you lay the whole face down and you don't hide of it hide any of it into some kind of shadow you kind of bring it up so it's relatively flat it ends up being a thing painting or face painting and I think that this side of the face could have been a little bit more in shadow I love the way that the light sitting here and I'd love to have that play nice area of light now see right in here we want highlight in here this should have been darker in here so all this should have been dark you see how the hair right here is dark in the background slit that's awesome stuff now right here we want to darken the hair more and then highlight the back of the head that gets that thing to pop right out of there and you're a brand new student and that kind of blows everybody away it's like Oh hmm she knows every okay so what we have here is we have the defective light little on the chalky side okay yeah well part of it is your shadows could have been a little darker little warmer yeah now here what we want to do here is we want to get more high light on your your hair okay and the reason for that is we want to get the feeling of light coming into the painting and then likewise we want to darken this so you want to darken the background so that the high light and the hair gets really bright then over here what we want to do is we want to lighten the background and silhouette your hair on that and that will get away see how the pinna looks relatively flat again it's a little bit of that monk shot kind of feeling by by bringing a lot of light in the background here in silhouetting the the hair against that light back in there you're going to create an awesome silhouette yes so this is darker this is lighter this the hair is light the shadows are dark you your mouth notice that we don't look at the mouth and you've blurred that nicely down the the dark in the nose could be a little softer just a tad but you handled the edges really beautiful I'd like to see one dominant light one dominant eye yes so they're both kind of the same so I probably would have suggested this I did have a little bit more blue in it a little bit more highlight in it this I here go into more shadow and darken that down a little bit wonderful shadows in the face and stuff so everything's really good [Music] [Music] you [Music]

Channel: Stefan Baumann

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Keywords: Plein Air, painter, Stefan Baumann, painting, The Grand View, How to paint, ALLA PRIMA, art, oil painting, How To Paint Portraits Part 2 What Beginner Artist Need to Know, Paint Portraits, How To, Need to Know, plein air painting, en plein air, plein air oil painting

Id: I3Y1jISD4hE

Length: 43min 0sec (2580 seconds)

Published: Thu Aug 03 2017