“So I want to start adding color. So here we go gets kind of scary. I want to use a higher value in the temple area and as outside light, tends to get cooler as it goes into the light. I’m going to start with yellow just because yellow gets, polluted easier. I’m going to go into the pure yellow and go ahead and break the form a little bit. And I’m going to kind of go to the blue in the outside light at the top of the head and where they meet. It’ll start to create a green tone. I like to put the blue in the eye socket area and let it sort of drain down the head.”
“This is your first date with your painting? Basically I considered, if you think of the painting and you as a marriage between artist and, product, if you skip the first date, which is the drawing and the second date, which is the value study and go straight to the painting, chances are you’re, we’re going to get into a marriage where you get kind of lost and you have to figure things out when that water split much harder to do. You can make a whole bunch of decisions and understand your subject much better if you actually draw instead of trace. So there’s me off my bully pulpit plus. Okay. You just have more legitimacy as artists. If you see the drawing stage, you’re going to, be able to translate that to the brush just as well as you can to the pencil. So don’t skip this state. That’s my advice. Draw every day, get good at it and observe. This is, the first date of any piece of art.”
“So here’s the tip of the chin. Now, one of the things I need to see is the angle that it goes back. And I want to see what is the relationship between the tip of the nose and the chin. What is that implied line there? So the tip of the nose to the edge of the chin is almost vertical. I’m going to draw that angle so I can find this mapping point and his head is slightly tipped back. That’s why it’s looking like he’s jutting out his chin. Then we called this the Lennon pose when we took the picture. So his chin is jetting out.”
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