Live Portrait Painting
So I think it is time to shake things up a bit we are clothes getting close to the end that I've been so excited to share so many things with your and just give you a taste I realized you know with the course like this were rushing through stuff on you know I've shown you a little bit here a little bit there may be tantalizing a taste here and there but I think enough for you to run with I really wanted to make sure you've got solid foundation and I've been thinking about what can I share in the last few minutes that sort of brings together a lot of the elements and it's also a way to really share very very honestly who I am as an artist because you know it's well and good explaining how paint works on de everything and showing you different exercise in things but I'm someone who loves painting people so well I've decided do just for the last few minutes is bring on a real live human being andi I'm going to place that human being here and I'm going to do that old fashioned thing of loo...
king at them and then moving my hand on a canvas it's going to be a digital cameras but still it's going to be fun so let's give a big round of applause for none other than the wells famous accordion player mr pole to meson wait okay so now I need to get a fifth of these causes I didn't realize there was gonna be so much movement in huh okay oh yeah you know just not fit if you want standing around painting on the computer so um let me just have a look here ah, my boy for great face wonderful do you think you could say that I have your back you don't have to keep still but for about twenty minutes I don't have to play no okay uh andi I'm ready coach oh, kito he so what we're gonna do uh where do you want me to look at me? So I'm gonna do is first of all make sure and forgive me for the heavy breathing I really need to get better I do lindy home with every night but uh I don't do that stuff so making sure I save my painting where it wass and with all those textures that you saw me put on I'm going to drop all on flat, innit? And um rather rather than start a fresh canvas why don't we just recycle something is hanging around so let's dive in and see where it goes so what I'm gonna do is get to the sergeant brush uh huh and I think you're a very sergeant type person so and we'll just dive in and see what happens here and I'm gonna have a way with the palate by the way little tip here if you do get both sin teak on dh into his prose one thing I find really useful is just set the same keys on the left both so you get in the habit otherwise otherwise it is confusing oh this key is that on one and now so I just say keep consistent so if you look at me thank you andi uh let me just have a look so I'm gonna start by composing the portrait in the canvas on dh so what you see me do is a lot of looking at poor on dh following with my eyes the the boundary and contour on the top of his head and as I look I moved my brush on the canvas and then I go back and I keep referring back and forth on dh deciding is that what I want I want to get both eyes you know super important um so I'm so I'm just mapping out the rough under painting on the fact that I've got this wonderful background that's got nothing to do with paul that I did not think of paul when I created it is a gift it's I love it it's great on the fact that it's not connected with you means he's got tons of stuff I can push around and move around so I'm actually very happy tohave the gift of a forever you know of a background that is that came from another place on dh now I'm recycling it so there's no reason just like traditional artists hang on old canvases a ll the time and that you hear in the news again and again all we did an x ray of a of a vermeer of a rembrandt of a picasso and they painted over this and that masterpiece hidden away under another masterpiece and so it happens all the time that people paint over their campuses so that's another way to shake yourself up another way to loosen up a bit is to do that so again what you're seeing I'm just booking in thiss is mapping in a sense so I'm mapping what I see onto my canvas and I'm going to continually adjust it because there's lots of things are not quite right and so I'm not worrying about the knot right? Because if I worried about the knot right I would simply come to a grinding halt and throw my hands in the air and go get a cup of tea because I'd give up my thing you know this is this isn't right it's not working so the way I proceed in the initial creation is uh you just dive in and I think that having a background which is already a painting that you've done feed you up because first of all you're not painting on a blank hammers on a blank canvas can be scary it's like there's that lying on its own when you first dive in what are you going to do? It's like there's no hiding it it's all on its own on dh where is now it's not all on its own it's actually melting into a ll these other stuff going on which could be interesting so I'm looking at this on dh what I'm thinking is that well, maybe I thought maybe I've done is for him to hide but actually it's not it's about right? I did a little bit of measurement nothing wrong with a bit of light, you know, distance from the middle of the eyes to the chin up to the top of the head, middle of the eyes to the chin tilted ahead just about right okay on dh also this's an interpretive interaction this painting is a relationship it's a painting is not I'm going to make a photograph of pull this painting is I've known pool for many years on this painting however it comes out reflects a relationship, it reflects a friendship, it reflects muchmore, then the look. So now knowing that I'm I've got very limited time, I'm going to I'm going to start working with sculpting sculpting form so I will do a save as and I think that's this button on dh so I'm going to call this number nine now you may well say but you you're just adding this to the soul spin correct? Well it's just there and I'm going to call it paul and I'm going to say sergeant okay, so yeah I'm piggybacking that's okay? I can take it out later I just don't want oh I don't want to lose the flow right now on there let's start really working into sculpting on when a half closed eyes one of the reasons that I mean paul is such a pleasure to paint painted pour a few times I mean his face and I hope you'll take this in a positive way it's wonderfully scraggly you know but that's enough oh ok I don't want to offend you or anything but you've got a wonderfully sculptural form and there's a lot to work with take that positive I didn't mention lines that I hold okay on dh so let's just move this over here and look at maybe bringing in ah highlight here that of course one of my favorite highlight colors and then let's also get a bit of yellow going here there we go and now let's look at other areas that are really important um really important we've got uh I'm just prioritizing so it's not let me just have a look I think that I've got to get the highlight there and actually what I'm realizing is there's a really great highlight on the his left at my right wonderful light catch in the side of his face, missing from my positioning of his head even though it's nice to get a chopped off composition loving that sort of light so what I'm going to do is may may be a bit risky is I'm going to um picked that blue color there I'm going todo set paper color I'm goingto go canvass eyes and I'm gonna add some canvas to the right and I'm going to add about, um I think three hundred on dh maybe add another three a hundred because that's not quite enough so I'm going to add another three hundred to the right three hundred pixels that is there we go perfect on dh then um let's just let's just bring this down a bit and now I realize that you know, I've got sort of a lot of stuff going on on one side nothing going on the other but you know, you just work, you just work with what you've got on dh create limitations so that's great port doing great, ok, we're going to go here and get that incredible highlight right here andi I'm zooming in and out but I'm touching the touch strip on this antique shops let's get it so down is bigger and I just have to room and not to touch that, okay I what I should do is just disable that but I'm gonna, uh just leave that you know what? Um this is a teaching class on dh I should rather than say let's ignore that I should do something about it so that if this happens to you you know how to do something about it so we're in the same teak wherein the functions wherein the touch strip on the left touch strip I'm going to disable on that's it um done and now when I go here up still still doesn't mean I'll get back to that but you can disable it and I do want to make sure I get the eyes is so special is well, I'm only in a very limited time here, so I want to get the basic essence and with limited time I think I've got about ten minutes or so maybe slightly less with limited time that essence is really important essence quote about really going for the essentials and not worrying about anything else it's absolutely the only way to work. So I have, you know, there's lots of detail I could paint on I don't have time to paint, so what I'm going to do is have to look very carefully at what is the essence here on dh where are you know the major shadow lights on dh so definitely on the inside of the eyes here and here and then we've got brighter uh here take that up here on just take that around here ah now I have to just breathe because it's it's sort of stressful so hee it is stretchable because I wanted to do a great job in a short time so I put myself under a bit of stress but that's ok again I'm just you know I want to share this process and one thing I would sort of really wantto emphasized to everyone out there is that everything you're seeing me do here just because it's observational drawing doesn't mean that it's not relevant to photo painting because when you see me pain at photo I'm not doing anything that much different in process to what you see me do here I mapped out the main light dark elements and blocks I decide on the composition on dh then I tone in on detail very selek actively so here we have the same process happening it's just my source is observational rather than photographic rather an observation of a photo I'm observing real life um if there's any questions I'm happy to talk while our pain even with intense concentration that's okay now there we go I want to get a little bit of structure to the lips on one important point there's a wonderful highlight there I'm going to go right up into the light yellows and I'll think off sergeant there leo in terms of the way that he would just apply just a touch there and maybe we'll reduce the size of the brush of it. So notice that when you're in this pure painting process, you don't need pallets hanging around, you could do the whole process like this, so I want to get the eyes going because I don't want to end up you know, the ice is just so important, so I want to end up with the eyes on dh the thie working and I can actually use thea zoom in here working in the eyes um is very, very interesting. The it's, the the so called catch lights are really just reflections of the world around us and it's always so much interesting stuff going on and so much complexity in an iris, and I'll just make this smaller, and I'm gonna zoom in more and there we go, so I'm going to do that and then we'll go to almost black and get the pupil defined get that define get that to find go to the other side um, compare the to look back and forth compare um go back and forth look again so it's a it's a really it's like a dance going on here and there's a highlight I really would like to get right in the, uh hi there the way that the light being reflected is amazing on the lighting here is so wonderful and I really want to try and do it justice in the short time I have um let's just see where we're going here e didn't brush right now I am and because of my time crunch, I'm probably just going to use this brush I just I just don't have time to go playing around with lots of brushes I could do that, but the sudden you know it's such a good brushes it's one I come back to again and again because I can get detail, you know, it's just a great great brush. Andi I see I've made a mistake, so I'm going to zoom out I'm going to do some big picture stuff because we've got to bring this to closure and I think that that highlight that I was so keen on is actually closer then I had originally drawn, so I have to let go of temp something that was precious that I was so pleased with and now I have to think its needs destroying instead so I'm going to destroy that line I made so carefully with so much ever and I'm going to just try something different on when I went to see the cancer show the young god I've mentioned that the young so much, but they do have good shows and it was funny seeing some of his portrait because he kept going over them again again again trying to correct things on dh it was very interesting seeing how much correction there was even from a master like cassie um on let's just get a nice blue here and then orange here on an orange here andan orange here then um then a light color there and then make that bigger and make it lighter so again, variation being the same theme I've emphasized again and again you see it in action here and then uh let's see, I probably got about two minutes left, so I'm using precious sensitivity here to get small, narrow brushstrokes with light pressure. And then when I pressed heavily I'm able to dig in and get deeper effects, so if I want to lighten up the cheek here I could just press do dabs and I could get very quick light effects and there's a lot of light here but I need a smaller brush so I could go in with a bit more intensity, which is right here on the upper go on, then here it go. So this is pure sculpting again it's just sculpting with lightened dog um and there's a really strong contrast there with really dark behind, so we need to go dark, dark, dark and I've really got to go the essence I probably got about one minute left so again uh having a time a severe time limit as anybody has done life drawing is a great great exercise because it really does force you to go for essentials you have no other choice umm on dh so again if you want to just give yourself challenges that's a great challenge see if you can create something in a very, very short time and give yourself a time put a timer on and say okay I'm gonna work on this if it's just five minutes ten minutes and in life during class of course you start off with one minute poses even sometimes thirty second poses boy oh boy you have to really draw fast I'll just go for absolute essence and nothing else and let zoom in a bit on get those eyes done and I might just call it a day um let's see here on terminal make my breast size smaller andi I should do is save as but I'm going to leave that afterwards on dh we're goingto do little highlight on the eyelids on dh then down here light there like they're on definitely here you can see the complexity of the surface having built upon another painting what's happening here is wonderful complexity and richness of surface on we'll zoom out on dh let's see if I have now reached have now reached the end of my time limit. So I'm going to do a signature no matter what. Andi, we should all give paul wonderful round of applause for being a great subject. Thank you. Now, that definitely was speed painting on paul. Thank you. So grimy. My pleasure. Uh, no matter what this looks like, paul, I will do a nice little print is a gift for you so that I can't believe it. But that sort of brings us to sort of some closure here in terms of the course. I can't believe it's over it seems like there's not possible, but just in terms of, you know, to get some some sense of what you just saw. So that ended up being like a fifteen minute quick sketch. Thank you very much, andi. I just wanted to really that the whole point of that was to share artistic process, which is the core of what painter sort of empowers you to do on dh you saw me there just flowing. I wasn't worrying about palate. I wasn't thinking about which brother. I mean, I was just flowing and I was doing in pain a in a very natural, intuitive way, which was is empowering and good feeling as if I'm doing a sketch on paper, which I also love to dio still sketching you know work without the media is still fun but what I want to make the point there was that you know in terms of a goal for this workshop I really wanted to help you get to the point where you can sit down with painting where you look forward to it is not gonna be like oh no I'm not gonna have to like train work out painting know where is a pleasure where you sit down you understand its idiosyncrasies you've got some structure you've got a pathway to follow on a place to move forward on dh if maybe we could just go for a moment to my slides and uh let me just uh move forward in time here and we're going to go through here we go so uh victor lichter lunch radcliffe is a very talented artist talking of life drawing it is beautiful I mean he's a traditional artists onda pain artist does beautiful work I've put his website link on my way painter creativity dot com forward slash creative life so do go and visit his website he has been doing the most funny cartoons about painting for years and I love them I love them and he's so kindly let me use them in my books in the past and I I told him I was going to be here I'm not even sure if he's out there if you are victor thank you on dh he just like brings to life so many elements of how all of us feel and when I saw this it was like yea I think we can all relate to that on what I want to say is in the big picture of things for this workshop monday morning this is where we started I mean, the truth is painter is as complicated as that it is like that there and if you ever for every power it fills up any computer monitor if you put every palate everywhere it is that overwhelming and look look at that poor blank canvas how can an artist be creative when they're faced with is overwhelming nous of stuff and choices and menus so what I hope is that you have come three days through this that now at least when you sit on that chair you can still see you. Now I feel really comfortable you're not intimidated buy all of that stuff that you see there on dh instead that you really have a pleasure in ivan in the painting on working from the photo reference also experiment with working from observation all drawing as well it's really fun I do recommend it um andi I received a really, really nice note yesterday out of the blue a little email from one of the viewers out there marjorie hi marjorie thank you for your note, andi I think is evil and you're going to read it and I'm going reverse one picture here because this lovely lady is out there watching this sent me this painting and even what you read what she was your marjorie wrote in and she said thank you so much for coming to creative live that's to jeremy I bought one of your dvds a few years ago and have been painting ever since so glad to see you on creative I've I thought that you might enjoy seeing what was inspired during your class today I painted this just this evening while watching the rebroadcast on creative life you're live demo had me taking more time with the under painting and making an expressive canvas rather than relying on auto painting to generate that thank you thank you thank you for taking the time to do a class on creative live very appreciated thank you and thank you, marjorie because you expressed in those words really what I'd be hoping for because that is the greatest compliment to me as a teacher to hear what you just said about the inspiration and not just the inspiration you did something with it andi that I think is what it's all about whether you're working from photographic ref reference or imagination or observing or emotion or a mix of everything I think aysel about is doing something about it making action making things happen and creating on dh we've been exploring, you know, just an amazing vehicle for doing that, karol painter and I look forward, you know, to sort of a continuing journey, and in terms of, you know, advice and thoughts for your own journey here, in terms of moving forward, I would say, first of all, take a lot of time to explore an experiment, even within your painting projects, take a lot of allow yourself to take a lot of risk. And actually, there was one photographer, professional photographer from pennsylvania who came to one of my classes many years ago in color on dh she know, we did all those color exercises, a mid tone, and we pushed color, and she loved what was coming out. She said, yeah, but my clients will never like it on dh, so she, you know, a year later, she wrote to me and she said, you know, jeremy, so funny, I went home, and I loved doing it one color stuff so much, but, you know, I you know, I mean, because, you know, I have clients who want to me, it looks like them, and, you know, in a conservative part of, you know, the world where I didn't think that these colors would be you know, I appreciate it so she did what I did was for a whole year when I did a client painting, I did one that I thought they would like and then I just played with mom and I just winfred andi, I had fun and I was, you know, I just went for it with color, and then what I would do is I would show them both and she said, you know what? Every time they went and bought the one that was full of color that I played with the I enjoy doing on dh again, it was such a thrill to here just to know that you know, when you express yourself and when you be yourself, people appreciate it on and the energy that you send out by doing that is powerful, so I would just say, don't worry so much about even when you're doing commercial work the should and shouldn't know or maybe I shouldn't do that we should just play, be yourself, have fun and guess what, people will love it and you love it. So on that note I give you everybody here and the audience out there a big round of applause give yourself a big round of thank you from me so first of all, two wonderful audience everybody out there on both live people and then the people who are watching this not live, but you know it's, a good his life, it's okay, you can still talk to me. I may not hear you, but on then a huge thank you to the wonderful creative life team you rock let's. Give them a round of applause. Everybody here, thie camera people, the sample for the production people, everybody here, top to bottom. You are wonderful on dh let's. Also great appreciation for carell for wacom, who sponsored prizes, but also who and bay photos and sponsored prizes. But watt coming carell two companies that really have changed lives of artists like us and for me, as someone you know who you know in my life is is our pain and a little bit of lindy hop, of course, but no, but we have these amazing tools, thanks to them. So let's give a big round of applause to our sponsors, and particularly to the technology that allows us artists have fun.