Portrait Painting Tutorial | Caravaggio Paint Along

hello there and welcome back to the studio today here is an image of the oil painting that will be created in today's episode so what we have here is a standard 8 by 10 inch cotton canvas here is an image of the original master painting that we will be creating a master study of it is a Michelangelo morita Caravaggio yes we are going to be creating a Caravaggio master study so remember this is going to be paint along style so I invite you to go ahead and get your sketch book out or your oil paints your watercolor or gouache or whatever you decide to work with this is going to be of course a pretty long episode so you have time you definitely have time to get your drawing or painting materials so I should clarify that the purpose okay the purpose of these master studies is to observe masterful paintings such as the one in the corner of the screen see I'm going to have the picture there in the top left corner of your screen so you can refer to it as we developed the painting but in any case it is a master study it is not a master copy the purpose is not to make a perfect photographic rendition or even try to use the same techniques as the artists that we are creating these master studies of I never claimed to to say that I never claimed to use exactly you know so and so is technique we use our own techniques we observe the methods not the method see you get me Alko if you said we observe masterful paintings ok we observe we think we interpret we study we analyze and we build on our repertoire of technique ok so just to clarify event so the first thing ok the first thing is always placement so I'm thinking I may end up cropping the of the beard a little bit here for this painting entirely sure but what I do know is that the top of the head I think should fit about here what do you think and I'm just using raw umber and my drawing medium again if you want to know exactly what materials I'm using you can feel free to scroll down to the description box down below and I'll have all of that information typed up for you okay and I just like to use raw umber just because it's not as intrusive as say drawing with like the X's in purple or like alizarin crimson or even worse drawing looks like cadmium red or something though you could it's just not my cup of tea so I'm gonna go for the axes of the eyes okay I'm gonna go about this a little bit differently the umber sketch that is since this is a heavily focused on the domain triangle and remember this is a cropped image okay so I'm not showing you the entire painting okay this is just a cropped version and I will I will say okay I used the Google Arts and Culture website to find this image you can find very very high resolution images this is not sponsored or anything but I'm just saying you can find really high resolution images if you go to google arts and culture in fact you one of you mentioned that to me in the comments I don't know like a couple videos ago and that's how I figured that out so thank you again for mentioning that so right now the main triangle okay so the main triangle right so Oh point one point two point three Connect three points in space and you have a triangle so I think that I might grow the main triangle a little bit so I'm gonna move say the nose down to about here so if the nose goes down to here the angle of the eyes is as so now we can continue to build onto these shapes and it's important to organize your shapes and have a you know a strategy to go about executing the painting so now let's let's take a look at where the facial hair is going to to go down so here's the the mustache bottom of the beard is over here corner of the beard is up here so perspective is gonna be a thing all right so we're gonna be looking down I think we're looking down at the model as you can see a lot of the top plane of the models forehead so this may need to move back if I'm going to say that the main triangle is going to be this long so let's see here a little more flat there so this is the whole top plane of the head here I'm kind of outlining it outlining it a little bit for you there yep talking and painting is kind of a difficult thing sometimes so there you have the skull okay let's follow the axes and that should give us the ear placement for the here okay so now we're moving into the blocking stage so I think that the placement is is alright we're definitely going to crop a little bit down here you know for the beard and stuff and in the photograph I can't really see too much over here so I'm not going to worry too much about it so most of our time is gonna be spent around here so let's just go ahead and just jump right into the block in so with Caravaggio the big thing is Kairos Goro okay the Kairos qrow hopefully I can say it correctly at this point now Pyrus cool roll basically just means focusing on light and dark shapes and they're very clear okay so the light and shadow it's very hard to miss you almost see like nothing within the eyes over here which is good meaning the shapes are very well simplified now follow the axes over here now we're just looking at the shape of light and dark which is what Kairos guru is all about shape raises up a little bit so again on a practical level as I usually say with the main triangle I tend to focus a lot of interest especially with portraiture on the main triangle just because from a practical standpoint it's just much more difficult to maneuver the eyes and the nose you know if we place them in the incorrect spot so it's a little harder to move the main triangle around than it is say the forehead or the chin there's a in this case the mustache so we're strategizing all right we're focusing on the things that are going to be most difficult first we're going to nail down those proportions of course not necessarily like you know perfect photographic sense but we're going to be thinking about these proportions and then once we get these proportions now pretty well-established then we'll continue to build on from there you can see the anatomy quite wonderfully the top plane of the nasal bone over here and then cartilage over here the wing of the nose there the other side of the other nose here the other nose really the other wing so you know the nose has two wings right so here here and the bulb of the nose okay all right so now it's a bristle brush a drive bristle brush I'm just going to use that to erase a little bit [Laughter] okay all right now let's go ahead and look at the corner of the eye socket here I'd say it goes down to about there goes out and here we have a little form overlap okay so I get this question a lot about the word I'm gonna have to use quotation marks the word wrinkles people asked me how to paint wrinkles and you know the how I used to say and I still say this the word detail makes me cringe the word wrinkle kind of makes me cringe to it I don't really know why I tend to call them form overlaps so from this point on when I say form overlap form overlap and you know that means a wrinkle or crease so there's definitely some there's a wrinkle here or crease but I'm going to call it a form overlap over here when we get into it there's a form overlap and the values are going to be extremely important being able to analyze them in particular studying the angularity of the plains is going to be important and that's going to be what I'm going to teach my students so this upcoming Monday night my portrait painting class will start so I get to teach artists in person which will be really nice [Music] okay let's remove this over all right so it hasn't even been 15 minutes yet and we already have a pretty good understanding of the composition and the placement of things without too many brushstrokes or without too much detail or minutiae goes down a little bit you know here's the superciliary arch I hope that's what it is on the corner over here and we can imagine this sweep you know a sweep of the skull going in this direction so I'm thinking of the shadow the shapes of light and shadow first I'm thinking of them flat you know just the shape of the shadow but then I also think about it in terms of the anatomical significance of the shape so let me explain what I mean so first I see a shape here right just a simple shape of light and dark and I just masked that in so now I'm going to stand back and then I'm going to decipher you know planes so side plane off the nose thinking of the cartilage of the nose around here and then how it turns and wraps into the maxilla region of the face meaning over here and now after standing back I also have to be very careful over the angle so as I usually say keep your shape simple and easy you know to to draw a portrait pretty well you only need maybe like I don't know 20 or 30 brushstrokes in the right place put man getting those brush strokes in the right place that's that's where the challenge is so again I just ended up moving the nose a little bit this way and we'll be able to draw this a little better when we go in with color later on of course traditionally when you're doing a curve adios study you know typically you want to do an underpainting but for us we're gonna go about it a little faster so once we get the Block in well established then we'll be just jumping right into the plains I'm gonna add a little more of my drawing medium again link in the description down below if you want to know what medium that is stand back okay all right so now let's just draw the boundaries of the form here backside of the skull now let's go back into the light and shadow shapes [Laughter] so right now I'm just thinking about it in the flat [Laughter] stand back so as this as a paint along every time that I stand back or sit back it's an open invitation for you to also stand back or sit back [Laughter] now you can see how everything is gonna be built from here [Laughter] and there's a shadow down here almost reminds me of the the curls and stuff over here almost reminds me with the peter paul rubens master study from a little while back a little more drawing medium and the shoulders are probably gonna be somewhere over here so this is a pretty dynamic pose probably amongst the most dynamic poses that we have you know recreated here shoulders are up here so obviously you know we're getting a lot we're seeing a lot of the top plane of his skull must have been a difficult pose to hold for the model speaking of poses for the model remember way back when like a couple months ago back when I was still filming the daily Aparri when these videos were daily I was constantly referring to my portrait painting group yeah my portrait painting group is actually gonna start this coming Tuesday so that would be nice so if you ever want to draw our paint with me in person I run a Tuesday morning group the Howard County Arts Council in Maryland 11 a.m. to 2 p.m. a little bit of a strange schedule I know as I'm saying these things I should probably link them down I'm gonna put a link down in the description box down below hopefully remember a link to my portrait painting group and the school where I teach [Laughter] [Music] okay so again the facial hair and have to look at some more elements of the facial hair this goes down to about their side plane over here I'm more drawing medium yeah it should be about good now look at let's look at the boundaries for the light and shadow shapes so here's one form over lap turning in that way okay and again this is very this is a very distinct step especially when you're working you're trying to work more realistically so this again is a Kairos guru emphasis on the light and dark especially along the boundary between light and shadow okay when I very cleanly differentiate the boundaries of light and dark cleanly we want to distinguish the boundaries between light and dark and in a very simple manner stand back okay and there are all kinds of theories on how Caravaggio actually worked you know a lot of people speculate like he might have used some optical tools and things like that I mean it's possible but you know as a painter was a lot of experience myself observing this Caravaggio you know getting more familiar with the Caravaggio paintings I'm pretty sure he drew this himself obviously that's pure conjecture but I don't really think that he used a optical device for this I don't know just in my opinion stand back okay now you can see that nice drama between light and dark and you know what I'm gonna do hold on with a larger brush how about we just give this more of that classical underpainting feel so a larger brush and the drawing medium we're gonna just go ahead and cover the rest of this just to have more of that classical under painting feeling and then we'll go back in and then of course put more specificity into it it also kind of helps when you have a value in the background to see the distinction between light and dark whoops I just moved the canvas okay all right so now we have drawn out the Humber sketch now we're ready to go back in with color and start to build these forms all right so the camera is rolling and I turned the autofocus off so hopefully we don't struggle too much with the camera trying to focus on my hand I'm just going to take off some of this paint okay so now we're gonna be switching to bristle brushes so let's get into the yellow ocher mixing white and let's just keep this really simple just yellow ocher mixing white for now and let's start to analyze this plane by plane so this is the part where you pick a plane any plane and start to and hope so let's don't want to do this do I want to do this let's do it a little bit of the cadmium red tiny tiny bit of cadmium red okay so let's put that over here so again I'm not going to be using the same exact technique that Caravaggio used like I said before this is a paint along this is a paint along of a master study and remember the master studies are not meant to create perfect reproductions of the original master painting but instead is a learning exercise with a painting or drawing as an end result light over there so I'm going to use the titanium white now we really want to get that the effect of light very quickly okay stand back okay all right so now what I'm going to do is get a little more of the Academy in red and the burnt sienna so cadmium red burnt sienna a more reddish tone over here and I tend to focus a lot on the main triangle when I go into the values so this tends to be my technique and again I've been using this technique for a while now especially with my studio paintings it's just much faster and I think it's just a lot of fun in my opinion so you're going in value per value and you're trying to establish the large plane are relationships within all of these shapes so now we're going to put in just a tiny bit of a loser in very very tiny bit of alizarin so there we have some little gentle half-tones maybe some SAP green now we're establishing these Plains darker Plains so especially if you're you want your artwork to have a very classical feel to it I would highly recommend studying the plains of the face and don't worry I'll be explaining them too as I paint alone so for instance this right here is for the top plane of the cheekbone cheekbone areas over here maxilla region is right around here so everything is kind of compressed the important thing to note is just the angularity of the plane the angle that the plane makes with respect to the light source you can conceptualize it in that form such as what we're doing there then you will be able to create the effect of Lights without too much problem without too many problems should I feel like I should have had a cadmium orange to the palate today oh well I do think that there's a little bit of a little too much yellow and the in the picture maybe it just needs some cleaning or something like that so how about this we're going to add a little bit of the raw umber alizarin burnt sienna and we're working on all the planes surrounding the main triangle and add a little more cadmium red yellow ochre and I get a smaller brush actually you know what I'm just going to use the drawing brush alizarin okay little more cadmium red now back to the yellow ocher so this is a very distinct plane our change from this point to this point okay so this is kind of the top region of the corner of the side of the nose the maxilla it's all kind of compressed here to the top of the cheekbone as it starts to turn around the cheek over here in my own studio work I tend to I try to simplify not not only simplify form when I'm working but I'm also trying to manage my time you know I don't want to spend a lot of time you know on the ear or like starting off on the beard or something like that I don't like spending time on things that aren't going to be as important to the overall end result so sometimes in my own studio work when I'm working on larger paintings which is pretty much all the time now these days I tend to work in specific zones and take those zones into completion relatively quickly in this manner and then move on from there so by the end of the day when I use up all of my mental energy in painting you know things such as like you know earlobes or mundane things in the background you know I can just do very quickly without having to worry too much about it because I already have the more important things established [Music] so I kind of messed up there I was trying to bring down the glare but instead I ended up blurring which is okay I'm on burnt sienna SAP cream so when I'm in deep focus I tend not to speak so much I don't talk as much or worse my English gets worse so I guess in theory I shouldn't talk as much when I'm in deep focus but right now I'm kind of in deep focus I step back okay so now this brush has deemed itself halftone brush so I have two of the same kind of brush here so now this one will just be the halftone brush there's another plane and another one you know and I wonder you know these these great paintings with so many elements and still life and different models and things like that you know I wonder you know when carvajal I was working on the painting did he decide like you know Wednesday I'm gonna go in and paint the models forehead or like Thursday I'm gonna work on this face and then or Saturday or whatever I'll go and paint some still life objects I wonder that because I'm starting to get to that point myself in my own work you know like for instance yesterday I spent a while painting a t-shirt and then on one painting and then moving on to you know like a this kind of elaborate background to a figure painting that has all of these like like floral designs and things and I just give myself like an entire day to just work out those floral designs and stuff because it adds to the painting and I wonder Caravaggio was like that too [Music] my form overlaps there so I did say I would use a light in a dark brush so let's do that so now I'm switching to the light brush dark brush light brush in this way I think I can just move a little faster you notice how I tend to go for the half-tones around here and then an area that's kind of more flat over here I tend to just leave alone and of course I'll go into this afterwards I'm more yellow ocher mixing white cadmium red of a more yellow ochre burnt sienna so we're painting all of these little form overlaps even on the side of the skull and of course it's going to get darker as we move back here you know a lot of effort a lot of things about the secrets and the methods of the Masters the old masters and things like this but really on a practical note I think the real secret to be honest are you listening very closely the real secret to the old masters and how they painted is drawing I know could it really just be drawing yeah I think that drawing is a big thing with the old masters there drawing was so strong and oil painting is essentially just drawing a with paint of course so I think you know the more you can draw I really do think the stronger you become as a drafts person the stronger you become as a painter you know if you draw enough then when you're painting you tend to kind of think about it as a drawing and then you just can operate with more this organization with your values your shapes and all of that and then when it comes down to color you know you have all of this room for creativity with color you can do with color almost whatever you want so long as you understand the values so this plane is much more flat over here and it starts to curve back there gets a little more red so burnt sorry I'm part of cadmium red hey Loker then we're going to revisit these turning planes so we already have the distinction between the planes so now it's just a matter of softening the edges to make this a little bit more round okay all right so now I'm gonna get back to the half tailing brush whoops was that the half ton brush I hope so I'm gonna strengthen these planes a little bit add more of these form overlaps I'm gonna stand back all right switching to the lighter brush stand back another little plane there stand back again kind of squinting a lot now so squint to see value and blur your eyes to see color but right now my most of my focus is on value and shape I switch back to the halftone brush stand back okay so I'm seeing a lot of glare over here on my end okay all right so now back to the light brush titanium white stand back okay alright so now I'm going to do a little bit more work on the Novus it's a little too simplified they're gonna get a smaller brush [Music] so in this way we're kind of drawing with color can I get a different brush try to push this light now we're back to glaring again so let's try to cover it as a glare remember the glare just means the oil paint is reflecting light which is not what I want it to do at this moment [Music] I'm gonna stand back okay so let's just soften a little bit here so I'm kind of building up towards the bulb of the nose I just want to make sure I get this shadow well established [Music] so I keep having to move back and forth just because of the glare [Music] so burnt sienna are mixing white [Music] okay so now we're starting to build up towards the bulb of the nose okay stand back [Music] stand back all right okay alright so there we have a somewhat of a nose there so now I'm just going to return to these shapes a little bit more cadmium red or sorry uh lizard try to get more of the roundness of the cheek now that we have two planes you have like a one two three four basically four planes there and we can soften you know I think there's a little more warmth on the side of the maxilla there so a little more cadmium red now we'll switch to that soft brush now the important thing is to not over soft and you know it can be kind of a tendency I think once really oh wow look how soft the form is getting to just keep doing that so just soft and sparingly something just bit me ouch okay so as I mentioned before in the studio there's like a bunch of spiders don't know why I don't think that was a spider though sometimes flying around in here spiders are my friend so they don't really bite me yep I don't know if you saw that something's flying around in here stand back okay so see how we're starting to get much more volume in there now we're going to want to do that over here so let's go ahead and make this a little darker okay now let's get that softening brush where's my brush okay and I tend to use this softening technique only when I have the planes already established and no extra medium okay just oil paint all right now back to the background brush now I want to establish the boundary of this corner here [Music] and while we're doing that let's also get some of the chroma it's a little bit of warmer in the corner that's a very classical thing to do let's push the warmth on the cheeks okay so now back to the drawing brush [Music] now the softening brush just try to eliminate this glare and of course there's a little bit of the other side of the nose showing here teeny tiny brushstroke there I just softened them up here again only soft and when you have the plains differentiated okay [Music] titanium white yellow ocher more off the forum overlaps here stand back okay all right so now I think we can start to put something in for the background as we're starting to get close to that edge different brush so I'm using raw umber ivory black a little bit of drawing medium again link in the description so while I'm putting in that background color I'm also kind of putting in a side plane on the edge here whoops what did i do there it's just my halftone brush yeah so halftone brush I really wish I could travel to to Rome and see these paintings take care of I do although if I want to drive like four hours I think they have some in the Met Metropolitan so let's let that be question of the day have you seen any Caravaggio paintings up close in person and if you have which ones and what were your thoughts to me Caravaggio is like one of my most favorite painters of all time and of course the story behind or the stories behind Caravaggio are also pretty interesting as well as you may know it's a little more raw umber every black drawing medium so while I have this brush I might as well put in this red a little bit of this red that we're seeing here so I just burnt sienna yellow ochre cadmium red more yellow ochre alizarin I'm just throwing a little bit of a darker tone over there just for fun now it's going to get darker down here a little bit of the SAP green that's kind of falling off the edge there so again like I said before it's really hard to discern what's going on over here just by the the photo reference and Caravaggio he really simplified in the shadows a lot so it wouldn't be surprising to me if there was almost nothing here so thanks Caravaggio I don't have to put anything in the corners here and then of course the ear that I almost lost there switching to the halftone brush we're not going to do too much for the ear so just a shape and then maybe a few tones not much for that and you can see how everything is just growing from the the main triangle right okay alright so now I'm going to differentiate the terminator line let me define that so the boundary between light and dark okay I want to make sure that this boundary line which is also called the terminator line or bedbug line but I prefer to call it the Terminator line do we want to make sure that the boundary stays intact so I'm going to establish it or reestablish it here with the color like so and then I'm going to switch to the softening brush and then that should leave me enough of room to go in with the shadow pretty simple and flat shadow that we're going to use for that so let's just use this good old brush here why not what's important is the value a little more red around here a darker over here I'm just going to soften around the ear a little bit we can also add some shape to the ear corner of the ear as well okay and there's some cricket singing in the background hopefully my mic doesn't pick them up see how I'm kind of slowly working my way up towards the boundary for the cheek so very much just like making a mark and then standing back and then evaluating my decision or my decisions now with the ear might actually have to make it darker now what the something is inviting me okay there's definitely something flying in here just a little darker for the ear stand back [Music] my ivory/black okay so now we're working our way towards the side of the nose so let me see here I might have to end up getting a different brush with a beard all right so I got a different brush here for the beard so raw umber of which I may have to add a little bit more of it yeah whatever let's just use this just raw umber and the mixing white just keep life simple [Music] stand back so I think I am gonna have to use a smaller brush I'm running out of brushes here let's just use this one the darker areas of the facial hair have to be kind of careful with the direction of the brushstroke so that it doesn't glare for you so facial hair just like with anything else that you're painting you want to think about planes so here's a bottom plane over here and a light plane over here I'm pretty much just remember and mixing white the color of the beard so wrong number ivory/black so now we're going to paint in the side plane of the facial hair so yes even the facial hair planes I'm just progressively adding more light as I move up or more of the mixing white [Music] a little darker on the corner here stand back so after standing back I see that I could soft in here a little bit [Music] okay now returning to the beard I'm going to get a different brush start to paint in some of these lighter planes the facial hair [Music] now obviously I'm not going to paint it exactly like the facial hair on the original painting but rather I'm just looking at individual planes [Music] whoops got paint on my microphone that's okay I'm just throwing some lizard just add some flavor I didn't really use my ultramarine blue I guess it kind of makes sense not to use it for this particular master study so I guess I'll just not use it this time but no need to worry whatever I don't use paint wise here I will end up using later and my studio work which by the way if you want to see my studio work I would recommend checking on my Instagram I post I try to post on the on my Instagram pretty much every day speaking of Instagram so so the way I do this is my iPad is like off-camera to the corner so I just got I keep getting messages on Instagram so if you want to contact me it's much easier to contact me on Instagram I'm much faster to respond it's because I have less you know let's let's folks contacting me on Instagram I stand back [Music] okay so we're almost there I'm just gonna add a little more of a darker shape over here just because I see it in the photo reference so might as well and again this is a paint along okay I know this is a long video but its intended for you to draw or paint along with me and it looks like my battery is trying to die so hold on I have to swap out of battery alright so I just swapped out of battery so I think there is only maybe one or two things left to do in this master study so I'm going to add the light over here so it's going to be kind of hard now as you know I'm kind of leaning over or behind the camera to get this kind of shot so this brush stroke is going to be kind of difficult to obtain let's see okay so is that brush stroke in the right place I don't know but we're gonna go with it so there's a little bit of light underneath or for the top plane of the lower eyelid in a lighter area there I think that's fairly close but there's also a bottom portion of the lower eyelid showing here okay all right so now we have now that we have that shape let me see here I'm gonna stand back okay so what's the softening brush we're gonna just drag the flush tune down towards here and soften a little bit as we go okay now just like we did here this top plane we have to see it through over here you know what I did put that in the wrong place I think I have to raise this up a little bit so my apologies there but I mean mistakes are part of the process let's try that again maybe we can make it even more simplified there single brush strokes and looks alright not perfect but you know nothing's perfect oh man yeah it's quite difficult to lean over a camera but that's alright I'm doing this for you there there we go after what was that like three three attempts we have that brush stroke okay so what was I saying before okay so now we got to do that over here so let's see it's gonna be a little bit darker let's add a little more drawing and medium okay so let's see let's hope we get to brushstroke in the right spot all right close enough that's a that's close enough you can barely see it but it's okay now we're going to put the bottom there I can easily end up over doing that so I'm going to err on the safe side when in doubt blur it out so we're going to leave that a blur whoops I did say I wouldn't use the ultramarine blue but I'll just use a little bit okay when in doubt blur it out so I'm going to just make the shape a little more soft as I had it before so we kind of run into trouble when we try to see things are kind of I don't know what's what's the word impose information that's not quite easy to discern which you know if it's hard to see in nature or in this case and the you know in the top left corner of your screen then then let it be like that in the painting so I almost see not like nothing here just a dark shape that's in the shadow and especially here I see almost nothing there so I'm just going to let it be that simple and not overwork it so we'll just push a few more form overlaps here just enough for it to read at a distance okay stand back I'm softening the edge a little bit okay all right so now I see that uh I could put a little more shape of a shape here stand back okay all right so let's go ahead and push this value [Music] I'm gonna soft and over here as well stand back okay let's try to eliminate the glare okay so over here so right now I'm just selectively you know softening or blurring certain things that stick out to me the way I make these decisions is just by like making a mark like that and then standing back or sitting back now remember you don't want to over soft in anything either or should I say just over soft and everywhere so just be mindful of that she was a different softening brush actually you know what let's use one of the softening brushes to add a little bit more of a pinkish hue down here it's almost like glazing just using a softer brush to change the hue of something now to the other the dry softening brush and I know you're probably thinking that I'm going to end up overworking this soon so pretty soon when I'm going to have to call it let's used a small brush here I just want to get a little tiny corner it's darker and warmer and like I say like I said before these videos aren't really edited too much so you know you're seeing this as it happens all in real time with mistakes and everything just because I think that that's so much better learning resource for me to create for you as opposed to you know how I did before where I would edit things out more so I hope that you're enjoying these longer videos stand back okay [Music] nope nope I'm gonna leave that be as a single brush stroke so it's kind of sticking out to me but I think it's alright I think we're good there so that being said I really hope that today's episode helps you out I wish you the best in all of your art work and as I always say always remember be positive okay in a world that can be so negative be the spark that ignites positivity among all of us remember this is a master study and not a master copy okay so the purpose of this painting was not to perfectly reproduce the original Caravaggio or to even try to you know mimic the same type of technique that he used whether as I'm observing this I'm like oh no I forgot all of these form overlaps so as I'm saying a little outro I'm gonna put in these little form overlaps before it's too late but anyway I do think that these are really good learning exercises and it just gets you to observe if anything it just gets you to observe masterful paintings as the Caravaggio that we're seeing over there and spend much time just observing it of course it'd be better if we couldn't look at the original painting in a museum or something like that but yeah try filming a YouTube video and talking at the same time in a museum probably not a good idea but anyway I'm gonna stop messing around with this I'm gonna get the brush here and toss it off to the side that being said always always always keep on painting keep on practicing if you would like to share your artwork with me I have my social media links down in the description box down below along with my patreon account where you can fund and support this channel if you would like to I wish you the best in all of your artwork and I'll see you on the next episode and it's now time for our new patron shout so thank you so much Nance Luz I hope I can print a yeah I hope I can pronounce your name correctly sorry about that I truly hope that these videos are helping out thank you so much for supporting me on my patreon account it really does help me out so much it really does mean so much for me it you know it helps me afford to purchase these canvases the oil paints and all of the materials that I need to produce these videos thank you so much again I wish you the best in all of your artwork and I'll see you on the next episode

Channel: Yupari Artist

Views: 152,867

Rating: 4.9299293 out of 5

Keywords: Caravaggio, portrait painting, portrait painting tutorial, portrait painting demonstration, portrait painting for beginners, how to paint a portrait, portrait painting step by step, oil painting tutorial, oil painting step by step, oil painting for beginners, oil painting techniques, how to oil paint, classical oil painting, traditional oil painting, learn to oil paint, how to draw people, mixing flesh colors, bob ross, Yupari Artist, Yupari, art

Id: PAN_BoMHAzE

Length: 88min 53sec (5333 seconds)

Published: Sat Sep 07 2019