How understanding 'light on form' will dramatically improve your painting.
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- čas přidán 27. 03. 2024
- A Portrait Painting Masterclass... in 27 minutes.
"Everything goes back to the ball", as a teacher once told me. And she was right. Practicing this exercise will dramatically improve your painting skills. Here we practice a simple 'light on ball' exercise with a basic flesh tone, and using this new understanding, apply it to a fully rendered portrait painting from start to finish. Crack open a seltzer and enjoy!;.
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“Each of the values is a plane” 🎨 helpful reminder!!!
Such a good concept to always be thinking about 😎
I'm really finding your palette management/organization helpful in all your videos. Thanks for showing your setup.
I'm so glad you are back on online with lessons. The lessons of the ball cannot be reviewed enough. Thank you
Thank you Nancy!
One of the best tutorials I've watched on CZcams! You are great at explaining why's and how's of your process. Thank you!
Nice. That is huge.. much appreciated! 😎
As a photographer, I treat my images like this when I start editing. This video is extremely beneficial. Subscribed
Wow! You manage to explain painting in simple terms for me, and I watched many videos about this subject for years, but your explanation and demonstration "clicks" with me somehow!
that's wonderful! I'm glad this is making sense! Means I am doing something right..... 😎
So beautifully painted I have learned so much thankyou so much would love to learn more. Thank you.
Thank you for sharing your knowledge!
13:55 I loved this observation of the collar's relationship to the portrait - the head becomes a flower. Thank you so much for this amazing video!
Awesome exercise. You used the color temperature range of your palette really skillfully
Thank you for this outstanding instruction about light and shadow and setting these things in a beautiful portrait. It was for me what for me was necessary to paint a good portrait.
Glad you enjoyed!
Awesome video and painting. Thanks for sharing.
Thank you very much!
really enjoy this, thank you
This is one of the best explained videoes I have seen on this subject! Love your work!
Thank you so much! appreciate the compliment 🌟🌟🌟🤩
really brilliant
thank you 😎
Great excercise and explanation. I'm looking forward to more videos from you!
Outstanding!!
loved learning "the ball" as a former model in your class. thank you!
so interestingly explained, great!
Glad you think so!
Most excellent video, Kerry. Thanks for sharing.
Outstanding Kerry , thank you for sharing!
شكرا لك من القلب على هذا الجهد الفني الرائع لدراسة الوجه واللون الرائع ايضا ..كنت مذهلا ..
Great demo! Thank you!
Helpful indeed! Thank you
You're welcome!
Great tutorial...thank you. 1 question...have you used a light grey to cover the canvas before you started the portrait painting? if so did you use oil or acrylic, or is it just a plain canvas.
Yes I did, acrylic.
Sooo good and very helpful!
Thank you. I am a guitar builder. As they become fancier, I also give painting a shot now. You can only do so much to a guitar. 😉🎸
Fantastic!
I watched to the end with popcorn
A great ending with helpful tips
Much appreciated friend! Glad it moved along at a good pace
Thank you!
Wow 🤩
Thank you!
So informative✨
Thankyouu for this❤️
Thanks!
Well explained. Thank you
I find it easier to follow these ideas in Oil. Acrylic is hard and Egg tempera nearly made my head explode!
Haha.... I've never used egg tempura... but would be open to trying. I use acrylics in high school and recently gave water colors a go.... I enjoyed water color even tho they sorta scared me for a long time...
Thank you. Excellent lesson here, thank you I learn so much here in this video. It worths to watch a few times more still. (Lower the ear top to outer left eye conner, shorten the chin... to more likeness...)
The jaw has also lost its shape between the chin up to the ear
omg this video is so good
Please cannyou make more videos on how to get accurate with portrait drawings
Wow, more portraits please!
Much thanks... will do!
My issue personally is i struggle painting from imagination , i can paint from reference really well shockingly even realistic but i have trouble apply what i study and practice putting it into practice and it’s frustrating and weird because in my head i know and under colour, painting etc i can visualise vividly without closing my eyes what to do and even see the process in my head like im looking at another window that faintly shows an image or video but im not allowed to directly to look at 😞 i was diagnosed as a child having severe adhd and struggle with it as an adult still but i dont want to blame it for my stagnation on my painting progress mostly, its just annoying cause i know i can replicate what is taught or shown to me but as i said before applying to fictional works is a struggle and i fall back on monotone or gray scale
I just dont know what to do anymore tbh
Well... if it's any consolation, I think most humans feel this same way. Nomatter how good they are at what they do. I know I do. I am often confused... I am confused about so many things right now.
I have it written down on wall, "Go into the studio everyday, the only thing I know for sure".
Also, "make a lot of bad paintings".
I really do think a large part of it is practice practice practice...and also making a lot of bad work. It's the only way to get to the good results.... which come in their own time... and randomly.
Brilliant! What mix did you paint the canvas with first or was it pre-toned gray? Same question with the palette paper. Is it the gray kind or is that just lighting? I have shared this wonderful video with my artist friends!
Wonderful, thank you! Both the canvas and the palette are toned neutral gray. I usually use Golden acrylics nuetrral gray no. 6, or mix something close to that.
Awesome video, very helpful. Your painting talent is amazing, it feels like watching Sorolla or Sargent as they're painting. One question though: I've tried many different Transparent Red Oxide, including Michael Harding's one, but none of them gives me such a luminous and colorful orange-pink shade at 00:50 just by mixing it with titanium white... they are all either darker or less saturated, or like a band-aid dirty pink hue... Can you please tell me which brand is the one you use in this video? Thank you so much.
Sure thing, I am using Michael Harding.....! It's important that whatever brand you use that it is the PR101 pigment. Also this is only a starting point for flesh tones, and the color can then be adjusted with other colors. Additionally, using the gray underpainting really helps the iron oxide to look more orange-ee in comparison. Hope this helps....
@@paintkerrypaint thank you for your kind reply, and and again for your amazing work, both in painting as in sharing this helpful videos.
Why does it seem that the child has aged a bit in the portrait? Anyhow I enjoyed watching you paint his portrait. I'm a landscape painter out of Tucson. Cheers from the desert. Subbed.
The likeness is off.... and perhaps I aged him... not sure.... but getting a likeness was not my goal, what was the goal was to demonstrate the modeling factors. Cheers!
hey i learned i lot. thank you very much. but what do you mean by seeing in a flat abstraction? 10:23
hope to hear from you! :)
Good question. Hmmm... how to explain this.... a shape you put down on paper or canvas is just a shape. It doesn't mean anything yet. It has not yet turned into a thing. In this state, it is still an abstraction. And it's on a flat surface. This is where proportions are most important and where we can be the most accurate. Proportions when you look at them as abstractions are 'tilts' and 'distances'. What is the angle? How much tilt does it have compared to a vertical or horizontal line. These are abstract comparisons because they have not yet become an object you are trying to recreate. Distances are how long the line is, and where is its half way point, and half of each half, etc. This is also abstract at this stage. This is how one can become accurate in a linear drawing for example. And this is what good classical training teaches. Everything is first an abstraction (in this case a 'flat' abstraction since it is on a flat surface) before it becomes the object we are trying to recreate. Flat Abstract Relationships, this is what all good image making is built with. Values and colors are also a system of flat abstract relationships. All image making is built this way.
Hope this clears it up a bit.....?
Cheers.k
@@paintkerrypaint hey i never thought you'd reply promptly let alone a whole explanation. great to hear your wisdom on this, you really are a wonderful teacher and thanks for taking the time clarifying before you get flooded as you grow later on. I hope you keep doing what you do and keep guiding us. :)
❄💙.
Amazing tutorial! Thank you! Why do you say blending with a dry brush is bad habit?
because using a dry brush to blend... leads to blending everything... rather than thinking in terms of building with shapes and planes, which is what gives a painting or drawing it's sense of roundness, or form or structural integrity. Blending for the sake of blending can lead to a finished look but it can also flatten the structure and planes and 3-dimensionality.
@@paintkerrypaint thanks a lot for explaining! Now I understand better
This may be a silly question but what material do you mix your paint on?
Masonite board toned with acrylic paint.
You need to use more paint on the canvas. It looks like water color. Keep the shadows thin but but use some bulk on the mids and high lights. We shouln't be able to see the canvas pattern more than the portrait.
The rules you state of how paintings 'should' be are accurate from a traditional point of view. Thank you.
Have you seen whistlers nocturnes? Or generally his whole work? Drippy paint adds transparency and creates a certain mood. Particularly with first layers . And the masters often kept the grisaille or under painting exposed in the finished painting . We see this in painters like Rembrandt, sergeant , and rubens . To suggest that paint needs to be thickly applied ignores that masters also removed the paint and kept what was underneath as finished. Show me a great painter who routinely used paint in a formulaic way..I’ve never seen it.
So generous of you to share this jam packed lesson here. Lots to absorb. Seems like this method depends on toning the canvas in the right way. Wondered what temperature and value you are shooting for with that canvas tone? I've also heard that the most chroma happens as the light side starts to turn toward the terminator. Do you agree?
yeah... I thought I would pack this video..... for the peeps out there. The canvas tone is neutral gray. It's the color I was trained to paint on. The benefit is you can immediately compare lighter and darker values and color to easy to see compared to gray. I occasionally use other tones as well.... mostly cool colors such as green or blue as I like to wipe off paint to reveal the color tone when working with flesh tones. Cheers.
Bro, why you are using two white colour?
I don't think they are two different white colors. He just needed more white on the palette and put out two lines of titanium.
@@ShelleyHannaArtalso it looks like he's using two blobs of white so when he mixes the white with warm colors, it keeps it separate from the cool colors. Otherwise it will muddy the colors and make it difficult to get the color you want.
Plus painting is kinda messy and not like adding up numbers.
Fantastic!
Fantastic!
Thank you! Cheers!