Lesson 1: using a grid to create accurate Proportion
The Old Masters used several methods to create accurate proportion in their drawings and paintings. The grid method is the easiest to use, and most realist painters working today use some form of the grid method.
Goals for lesson 1:
Goals for lesson 1:
- Begin thinking about how you can simplify your background or other visual elements so your viewer's focus is on the subject of your portrait.
- Draw a grid onto your canvas or panel
- Use your grid to outline the visual elements in your painting including shapes and value changes. DON'T SECOND GUESS THE GRID! It is mathematical. It can't lie.
Remember that homework assignment with all those blurry looking squares?
Well, because you represented the proportion accurately and paid attention to value (lights and darks), you created this!
Well, because you represented the proportion accurately and paid attention to value (lights and darks), you created this!
lesson 2: using value to model light and shadow
The most important element in creating the illusion that your subject takes up three dimensional space is VALUE.
The Old Masters often created an under painting (or had their apprentices create it) using terra verde and white. You will create your under painting in two layers in lesson 2 and lesson 3.
The Old Masters often created an under painting (or had their apprentices create it) using terra verde and white. You will create your under painting in two layers in lesson 2 and lesson 3.
Goals for Lesson 2:
- Paint the first layer of your underpainting
- Look at your reference picture MORE than you look at your painting
- As you paint, use the information in your reference picture to make small corrections in your original sketch
lesson 3: perception and value
Your eyes may be playing tricks on you! In this lesson, you will learn about an optical illusion that can limit your ability to perceive value accurately and portray it in your portraits, but MOST important, you'll learn about some tools that can keep this optical illusion from affecting your work.
Goals for lesson 3:
Goals for lesson 3:
- Cover the entire surface of your panel with terra verde and white
- Revisit the face and other focal points to make these the most accurate and detailed areas of your painting.
- Use a value scale or a clear cover on your reference picture to test values and correct for the limitations in perception that we all experience.
lesson 4: color glazes
Once you've completed your under painting, it is finally add color! In this lesson, you will learn to create glazes of transparent color. You will use a mix of transparent glazes and opaque color over the next few weeks to bring your portrait to life.
Goals for lesson 4:
Goals for lesson 4:
- Become familiar with the basic color wheel and complementary colors.
- Create a glaze with cadmium red light and yellow ochre and apply an even layer to the skin in your portrait
- Add a glaze (mostly umber, blue, and alizarin crimson) to your shadow area
- Use titanium white (with cadmium red light and yellow ochre) to bring out highlights
- DON'T LET ANY VALUE DRY DARKER THAN IT APPEARS IN YOUR REFERENCE PICTURE.
lesson 5: more with color
Now it's time to add a second glaze layer to the skin in your portrait (make sure your painting dries completely between layers). You will also start to add some details to the eyes and other important features.
You have two demo videos today. One with the Fiddle Maker demo and one with a painting from the group.
Goals for lesson 5:
You have two demo videos today. One with the Fiddle Maker demo and one with a painting from the group.
Goals for lesson 5:
- Continue to become familiar with the basic color wheel and complementary pairs
- Use the primary colors to mix a dark, almost black neutral
- Add a second glaze layer to the skin
- Add color glazes to eyes and some of the other details in your portrait
lesson 6: developing details and edges
Keep adding glaze layers (make sure your painting dries completely between layers) and developing details. The sharpest edges. the clearest detail, and the highest contrast should be in the eyes, because that is where you want your viewer to focus.
Goals for lesson 6:
Goals for lesson 6:
- Continue to gain insight into the color wheel and mixing color using a limited palette of primary colors.
- Sharpen and develop the eyes and other details you want the viewer to focus on.
- Add another layer of glaze and highlights to the skin.
- Enjoy the process and ask questions
If you are struggling with whites, metallic colors, or any other neutrals, the following video should help. There is no substitute for the insight you get from just doing the work. The more you paint, the easier color mixing gets. And with a limited palette, the progress is quick because there are fewer colors to get to know.
Lesson 7: developing shadows and features
You are into the second glaze layer by now. It can be really scary to make your shadows dark, but the light needs the contrast of the shadow. The Old Masters even made the shadows a little darker than life...
Goals for Lesson 7:
Goals for Lesson 7:
- Add some dark glazes with raw umber to build in shadow areas
- Continue to gain insight into the color wheel and mixing color using a limited palette of primary colors.
- Continue to sharpen and develop the eyes and other areas you want the viewer to focus on.
LESSON 8: PROBLEM SOLVING AND KEEPING ON KEEPING ON
Did you ever hear anyone say "there is never any good writing, only re-writing"? Well, the same principle applies to realist painting. Don't stop until you have results you love. Just keep on working. Don't hesitate to ask for help if you need it. Especially if this is your first portrait, this can be a challenging phase. But you have come far enough that you can see the light at the end of the tunnel now. I can't wait to see your finished portraits!
finishing up
Now that you are finished or close to finished, here are a few useful self critique questions:
- Where does your eye go when you look at your portrait? Is your composition interesting and effective and does it focus the viewer on the visual elements that are most important?
- Did you try some new techniques and push the boundaries of what you know?
- Do you have a complete range of values?
- What would you like to do better in your next painting?
- How does this work fit into the grand scheme of your development as an artist?