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Hello, art lovers.
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Welcome to a very special afternoon of creativity,
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where we are going to learn
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how to mix skin tones with the artist Melissa Clements.
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I'd like to extend a very warm welcome to all of you
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who are streaming in through
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our virtual doors this afternoon.
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I can see 100s of you coming in on Zoom, welcome
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and welcome to our friends on Facebook Live as well.
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The programme this afternoon is,
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has always been brought to you
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by the National Portrait Gallery,
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which is housed on the beautiful lands
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of the (indistinct)
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And I'd like to acknowledge their elders,
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past and present and extend a warm welcome to any
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first nations people who are joining us this afternoon.
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Now, these workshops are a very exciting thing
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for the National Portrait Gallery to bring to you.
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Doing it virtually though is a very strange experience
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for our poor artists that we throw into.
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'Cause usually we, you know,
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we bring some art loving folk into a room.
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We have all our materials.
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Here we're at in our studio
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at the National Portrait Gallery.
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And I'm gonna go walk you through a little bit of
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housekeeping before I introduce you to
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our workshop later this afternoon.
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But there is still a little bit of time
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for you to have a look at the post in your email
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or either on our website.
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There is a few materials that we asked you to gather.
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If you don't have all of those, it's no dramas.
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If you're just here to sit and listen for now
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and experience later on, that's also super fantastic.
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But if you need a couple of minutes
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just to quickly gather a little bit of extra things,
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have another little look at that list.
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You've got a little bit of time before we get into it.
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My name's Gill.
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I'm very lucky to be one of the digital team members
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here at the Portrait Gallery.
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And the setup that I alluded to before is,
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well, it's quite complex.
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You know, we've done a few of these workshops now
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and we're sort of hoping and thinking
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that we're probably getting to the point
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where we've got a really good result for you out there
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in virtual land.
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However, every artist likes to work in a different way.
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So if there's something about our setup this afternoon,
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that's not working for you, you just give us a shout out.
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We've got Robert and Hector and Mark and Georgina,
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all hanging out here behind the scenes
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and we'll be able to tweak things for you
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and make sure that you get
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the best possible experience this afternoon.
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If you would like to, we'd really encourage you
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to leave your cameras on.
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Now, the reason for that is that we are kind of working
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in the dark here a little bit.
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And our lovely artist is also trying to produce
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a programme basically to the tech people in the room.
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However, we do have a massive screen up here.
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Mark, if you don't mind zooming out,
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where we gonna be able to see you all, look waving,
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thank you so much for that.
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And for leaving your cameras on,
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we really feel like you're in the room with us
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when you do that, thank you.
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We also love seeing a lot of the top of your heads
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because often people get very involved in working
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and we see a lot of this as you're painting.
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So, and we would also like to be able to share your creation
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with our artists this afternoon too later on in the programme.
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We do not have the function
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to be able to take questions using the microphones,
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because there's just so many of you joining us today.
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And we also have the two different platforms,
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Zoom and Facebook running.
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However, if you'd like to ask a question
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or clarify any of the points during the presentation,
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it's highly interactive.
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So please do pop your comments into the chat function
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on Zoom or into the comments on Facebook.
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And I'm gonna do my very best to be your voice
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and take as many of those questions to Melissa for you.
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Comments and questions always welcome.
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If you wanted to just like kick that off and give it a go.
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We'd love to know where
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in the world you are joining us from.
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I believe there's some international people coming in
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as well as people from all over Australia.
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We'd really love to hear whereabouts in the world you are.
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It's always very exciting for us to be able to bring
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these programmes to as many people as possible.
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So let me now without any further ado,
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introduce our wonderful artist to you this afternoon,
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Melissa, please come in.
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Hi everybody, thank you for having me.
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Thank you so much for joining us.
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Thank you.
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I thought we might just kick off by maybe
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having a little bit of a chat about,
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well, you'd like might like to tell us
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a little bit about yourself and your art practise.
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Yeah, absolutely.
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So my name's Melissa and I'm a finalist
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in the Darling Prize this year for portraiture,
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which is extremely exciting
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and it's amazing to be in the Portrait Gallery in Canberra.
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I remember visiting here over 10 years ago
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when I was a little year seven in high school
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for the first time and walking through the Portrait Gallery
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and thinking, oh, that would be amazing.
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'Cause I was already making art of paintings of,
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and people of paintings of people
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at that part in my life that early on.
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So the idea of being able to be in a gallery like this
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was just astonishing and something I never thought
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I could actually achieve.
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So to be here at this part of my life
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as well is so exciting.
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So I'm a portrait painter.
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I've been doing portraits now for well over 10 years,
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but I've only been painting for about five or six years.
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And so learning the skill of colour and skin tone
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is something that has been a long journey
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and something that has evolved throughout my art practise.
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But over the last year or two
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I've since becoming a full-time artist
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and taking that practise into a studio full-time.
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I've really sat down
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and kind of methodically.
Methodically.
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Methodically kind of gone through my process
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and formatted a way of, you know,
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how can I share this with other people?
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And it's not only been helpful for others,
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but it's been so helpful for myself as well
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to sit down and work out a process
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and be able to share it with other people as well.
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That's amazing.
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Would you like to tell it before we get into it?
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Would you like to tell us a little about
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the portrait that is in the darling portrait process.
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Yeah, of course.
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So the piece that in the National Portrait Gallery
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for the Darling Prize is called Sean Whadjuk Becoming
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and it's a portrait of an amazing Noongar man
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from WA called Shaun Nannup.
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And he has been a huge mentor for me
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and a support for me for the last few years since I met him.
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And the moment I met him,
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I thought I have to paint this man,
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'cause he just brings this huge presence
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into any room he enters in.
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And that's really what I wanted to bring into this.
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This painting is that sense of,
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of presence that he fill a room up as soon as he enters.
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So big part of him is that that presence physically
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with his hands, he talks a lot.
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He often does welcome to countries and also takes people on
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country and connects them to his culture and the land.
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So showing that physicality is really important,
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but also that sense of, I guess,
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texture and that idea that he's kind of melting into
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the background almost capturing that idea of
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the country is part of him
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and he is part of country as well.
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Yeah, it's very powerful work
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and it's certain popular with visits,
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our visitors to the prize.
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If anyone is in Canberra, the Darling Portrait prize
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is only on for a little bit longer.
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It closes on the 9th of October.
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So I'd really encourage everybody
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to try and get along and see it.
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But this afternoon,
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now I have a little confession to make.
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When I was in high school studying art,
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I was asked to paint a portrait
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and I was so frustrated with the process of trying to get
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a skin tone, right.
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That I decided to paint my portrait blue.
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So basically the person looked like those characters
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out of Avatar, the film by James Cameron.
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So I thoroughly failed my first lesson in mixing skin tones
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but this afternoon you're gonna help solve
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that problem for me.
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And you're gonna help solve it
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probably for some of the participants here this afternoon.
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Well that's the aim.
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And we've got three hours.
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So do you wanna just give people a little rundown
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of how we might break that time down?
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Yeah, absolutely.
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So the day or the afternoon,
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depending on where you are in the world is split
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into two halves.
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The first half is going to be quite theory based.
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So there's going to be quite a lot of information
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that you'll be getting.
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And so in your email, you probably would've, hopefully
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would've got a printout,
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but all of that will also be on the PowerPoint as well.
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So if you did miss that information
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and I'll also be speaking through all of that.
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So the first half of the day will be that theory based of
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how to actually mix the skin tone.
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So the alchemy behind all these different pigments
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and colours, how they go together
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and that kind of beautiful variety
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that you can get of different colours.
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Then in the afternoon after our lunch break
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or mid afternoon break we'll then be coming back.
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And that's when we are commencing
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the painting session for the afternoon.
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So not sure how long that will go for
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depending on how quickly we get the first half finished
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but hopefully about an hour, an hour and a half to two hours
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of painting time in the afternoon.
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And we'll be working on a beautiful portrait
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Alla Prima style, so wet on wet.
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I love to do these really sketchy portraits
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because I spend hours and hours in the studio
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on works that take many months.
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So to break up that process by doing exercises
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over a couple of hours is something I often do all the time.
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So that's also a nice way of showing that part
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of my studio practise to others as well
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whilst applying the skin tone element to it.
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Sounds brilliant, should we get into?
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Yeah, looking into it.
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Okay we'll go on reset cameras
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and we'll start getting into the workshop of the section.
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So it's so lovely to see all of those faces
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and everybody up there ready to go.
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Thank you, hello, terrific.
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All right, I'm gonna reset myself over here
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and if anyone has any questions throughout the theory,
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please feel free to let me know
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and I'll shoot them through to Melissa.
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Okay, so are we ready to go?
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Yeah, I think so.
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Okay, perfect.
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So as I was saying earlier with Gill,
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we are breaking today up into two halves
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and the first half is quite theory based.
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That's when we're gonna be doing
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all of our skin tone mixing.
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But before we get into the actual mixing,
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I wanted to first talk a little bit about myself
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and then go into some of the colour theory
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that I never really got taught
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in the early part of my art career.
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So especially in high school, that's something that
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I think maybe it was assumed knowledge
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or I was just never taught it.
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So even now as a full-time painter,
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it's still something that I like to refresh every now
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and then to remind myself the theory.
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But before we get into that,
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I want to talk just about my journey a little bit.
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So as I was saying, I'm a portrait artist.
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I'm full-time now but I didn't necessarily go through
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the maybe typical process of what you would expect
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of an artist to get to being a full-time artist.
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Although in saying that I'm not sure
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there is an expected pathway,
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but what I mean by that is I never went to art school.
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I didn't do a full-time degree
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at at an art school or a university.
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I chose to do art history instead at UWA in Perth.
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And that was really because
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it gave me an opportunity to learn these,
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about classical history of painting.
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But I personally felt that there wasn't an art school
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in Perth that would align with this idea
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of classical painting techniques
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that I was really passionate about.
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So I really wanted to do classical portraiture.
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I wanted to do realism and paint faces.
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I didn't really want to do conceptual
285
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or contemporary style art
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that I saw other young people doing.
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So instead I kind of did my own thing.
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I did art history and then chose to do little residencies.
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So I did a residency in New York.
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I did a summer school at the National Art School in Sydney.
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And so I never really had that classical training,
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but I picked and chose different placements
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and courses where I could learn from other artists.
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So to be now, one of those artists
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sharing that with others is amazing.
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That's so exciting
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considering that I love learning from others myself,
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but I think something that I really wanna share is
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this idea because I didn't have
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that classical formal training.
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So much of my work has been self taught
302
00:12:06.510 --> 00:12:09.810
and maybe that's meant my process to get to where I am
303
00:12:09.810 --> 00:12:12.269
has been a bit more windy.
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But a bit of an example,
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00:12:14.490 --> 00:12:16.330
as you can see on the PowerPoint slide,
306
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the picture at the bottom is a bit of an example
307
00:12:19.470 --> 00:12:22.950
of what I did throughout my teenage years.
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00:12:22.950 --> 00:12:25.890
I would do these nice kind of charcoal drawings.
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00:12:25.890 --> 00:12:28.891
And I love charcoal because it was such a painterly process
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and medium to work with.
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But it's great because it's black and white.
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00:12:34.560 --> 00:12:36.052
You don't have to think about colour.
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00:12:36.052 --> 00:12:39.450
And colour was really, really daunting for me.
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00:12:39.450 --> 00:12:42.221
I didn't really know how to approach it.
315
00:12:42.221 --> 00:12:45.930
So when I first did my,
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00:12:45.930 --> 00:12:48.577
did my ever did my first ever portrait that was
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00:12:48.577 --> 00:12:51.480
in full colour, this piece here,
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00:12:51.480 --> 00:12:55.293
this is, I think I did this when I was about a 17, 18.
319
00:12:56.190 --> 00:12:57.570
I didn't know what I was doing.
320
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So I looked at a photo
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00:12:59.010 --> 00:13:00.510
and I thought I'm gonna replicate that.
322
00:13:00.510 --> 00:13:04.290
And the first kind of instinct that I had
323
00:13:04.290 --> 00:13:07.077
was to just go to the art shop and look for the colours
324
00:13:07.077 --> 00:13:11.411
purely from the paint tube that most looked like skin tone.
325
00:13:11.411 --> 00:13:14.163
So the colours that I went went for was white,
326
00:13:15.720 --> 00:13:16.770
and then three browns.
327
00:13:16.770 --> 00:13:17.827
So I went for burnt sienna,
328
00:13:17.827 --> 00:13:20.190
which is like a reddy brown,
329
00:13:20.190 --> 00:13:24.030
yellow Oka, which was more of a yellowy, earthy yellow,
330
00:13:24.030 --> 00:13:25.980
and then burnt umber, which is kind of a rich,
331
00:13:25.980 --> 00:13:28.290
cool black brown.
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00:13:28.290 --> 00:13:30.669
And as you can see,
333
00:13:30.669 --> 00:13:32.937
we've got, when I've isolated,
334
00:13:32.937 --> 00:13:35.590
the different colours from the pigment of the skin tone,
335
00:13:35.590 --> 00:13:37.371
they don't look like skin tones.
336
00:13:37.371 --> 00:13:40.470
They kind of luckily work quite well
337
00:13:40.470 --> 00:13:42.150
considering the lighting going on there,
338
00:13:42.150 --> 00:13:45.210
but they don't really match what my skin tone actually is.
339
00:13:45.210 --> 00:13:48.226
They're far too brown and goldeny coloured.
340
00:13:48.226 --> 00:13:50.040
They're not very natural.
341
00:13:50.040 --> 00:13:51.711
Look, Melissa, they're not blue.
342
00:13:51.711 --> 00:13:52.701
They're not blue.
343
00:13:52.701 --> 00:13:55.380
You did a lot better than my 17 year old portrait.
344
00:13:55.380 --> 00:13:56.580
Yeah, although it's funny
345
00:13:56.580 --> 00:13:58.782
because I was gonna say that now my process,
346
00:13:58.782 --> 00:13:59.910
and it's not something
347
00:13:59.910 --> 00:14:01.920
that we'll get to really discuss today,
348
00:14:01.920 --> 00:14:05.100
but my process is actually to do a green underpainting.
349
00:14:05.100 --> 00:14:07.275
So it's a technique called Verdaccio
350
00:14:07.275 --> 00:14:10.213
and it's an Italian ancient Renaissance technique
351
00:14:10.213 --> 00:14:13.440
where you do an underpainting that is full green.
352
00:14:13.440 --> 00:14:15.528
So it's a valued painting
353
00:14:15.528 --> 00:14:17.670
with different lights and darks of green.
354
00:14:17.670 --> 00:14:19.634
And before I did that, I was actually doing blue
355
00:14:19.634 --> 00:14:21.270
as an underpainting.
356
00:14:21.270 --> 00:14:23.520
And that's because we've got blues and greens
357
00:14:23.520 --> 00:14:25.080
in our undertone and skin.
358
00:14:25.080 --> 00:14:26.160
So if you think red,
359
00:14:26.160 --> 00:14:29.880
or red to pink and yellow in the, the colour wheel,
360
00:14:29.880 --> 00:14:31.511
which is what we think of his skin tone
361
00:14:31.511 --> 00:14:36.300
is the opposite to blue in the colour wheel.
362
00:14:36.300 --> 00:14:38.640
So that sits underneath as an undertone.
363
00:14:38.640 --> 00:14:40.200
So by painting, that is the first layer.
364
00:14:40.200 --> 00:14:41.456
It actually works very well,
365
00:14:41.456 --> 00:14:44.010
but actually I think that's one of the reasons
366
00:14:44.010 --> 00:14:46.608
this looks so red is 'cause there's no blue in here.
367
00:14:46.608 --> 00:14:49.343
So you're not totally wrong thinking that,
368
00:14:49.343 --> 00:14:52.382
but I wanna talk a little bit about that idea of these,
369
00:14:52.382 --> 00:14:55.578
three primary colours that we have in skin tone,
370
00:14:55.578 --> 00:14:57.477
because this is why I was so afraid
371
00:14:57.477 --> 00:15:01.325
of making my own skin tone by mixing it.
372
00:15:01.325 --> 00:15:04.530
Is because of these three things that
373
00:15:04.530 --> 00:15:06.094
you really need to know about colour theory.
374
00:15:06.094 --> 00:15:08.910
So the first thing, and it's something
375
00:15:08.910 --> 00:15:09.900
that I was always aware of.
376
00:15:09.900 --> 00:15:12.570
And that's what scared me was that skin tone
377
00:15:12.570 --> 00:15:15.120
is made out of three colours, red, yellow and blue.
378
00:15:15.120 --> 00:15:18.787
So we've got all those primary colours in our skin naturally,
379
00:15:18.787 --> 00:15:22.183
and today we're gonna be going through
380
00:15:22.183 --> 00:15:25.650
the different ratios of those three colours that we mix
381
00:15:25.650 --> 00:15:28.770
in order to get something that is really natural looking
382
00:15:28.770 --> 00:15:30.631
and also very varied as well.
383
00:15:30.631 --> 00:15:32.520
So keep that in mind.
384
00:15:32.520 --> 00:15:33.570
We've got the three colours
385
00:15:33.570 --> 00:15:36.690
and that's what everyone's been asked to supply today.
386
00:15:36.690 --> 00:15:38.070
Oh, sorry can I jump in and ask,
387
00:15:38.070 --> 00:15:39.510
a few people have asked
388
00:15:39.510 --> 00:15:42.030
if there's a substitute for cobalt blue.
389
00:15:42.030 --> 00:15:44.790
Yeah, actually that's a good point.
390
00:15:44.790 --> 00:15:47.146
Probably the most important is having
391
00:15:47.146 --> 00:15:52.146
two good reds and, or a good red and a good yellow,
392
00:15:52.569 --> 00:15:56.301
but the blue, because we use such a teeny tiny amount of it.
393
00:15:56.301 --> 00:15:59.040
I like cobalt blue and I teach that
394
00:15:59.040 --> 00:16:00.720
because I find it's quite forgiving.
395
00:16:00.720 --> 00:16:03.450
It's not too overly pigmented.
396
00:16:03.450 --> 00:16:06.478
I find depending on at least the series I use,
397
00:16:06.478 --> 00:16:09.990
but you can use pretty much any blue
398
00:16:09.990 --> 00:16:12.377
because you're just tinting the colour slightly.
399
00:16:12.377 --> 00:16:14.880
I just prefer to use cobalt blue.
400
00:16:14.880 --> 00:16:16.788
And I use it in other parts of my painting.
401
00:16:16.788 --> 00:16:19.980
Things like ultramarine blue can also work well.
402
00:16:19.980 --> 00:16:22.890
The reason I don't use it is because when I teach with it,
403
00:16:22.890 --> 00:16:25.414
it's such a strong colour that people
404
00:16:25.414 --> 00:16:29.730
put far too much and they immediately muddy up their colours.
405
00:16:29.730 --> 00:16:32.490
So just if you're familiar with the,
406
00:16:32.490 --> 00:16:34.023
the type of blue that you're working with,
407
00:16:34.023 --> 00:16:35.700
then that should be absolutely fine.
408
00:16:35.700 --> 00:16:37.680
Just going little by little,
409
00:16:37.680 --> 00:16:39.750
tiny little bits of paint as you go
410
00:16:39.750 --> 00:16:42.480
and work out the ratio of what you need as you add it.
411
00:16:42.480 --> 00:16:45.060
But we'll be doing that slowly steady as we go anyway.
412
00:16:45.060 --> 00:16:47.880
So yeah, but cobalt blue is what I use,
413
00:16:47.880 --> 00:16:51.360
but it's not completely necessary to have the same one.
414
00:16:51.360 --> 00:16:52.470
Terrific, thank you.
415
00:16:52.470 --> 00:16:56.940
That's okay, so those three colours are all in skin tones.
416
00:16:56.940 --> 00:16:59.266
And then within that, it's important to recognise
417
00:16:59.266 --> 00:17:02.160
this idea of value, hue and chroma.
418
00:17:02.160 --> 00:17:07.160
And value, hue and chroma are all related.
419
00:17:07.410 --> 00:17:12.410
So depending on the ratio of those three primary colours,
420
00:17:12.434 --> 00:17:15.522
with the addition of white or burnt amber as well
421
00:17:15.522 --> 00:17:17.400
or things like that,
422
00:17:17.400 --> 00:17:20.345
that changes the value, hue and chroma of the paint.
423
00:17:20.345 --> 00:17:22.993
So I want to talk a little bit about these three,
424
00:17:22.993 --> 00:17:25.200
three concepts because they're things
425
00:17:25.200 --> 00:17:26.880
that I was never taught at school.
426
00:17:26.880 --> 00:17:29.760
And then, because I was never taught at school,
427
00:17:29.760 --> 00:17:31.161
I wasn't taught at university
428
00:17:31.161 --> 00:17:35.250
when I did do a couple of fine arts units.
429
00:17:35.250 --> 00:17:36.690
So it was totally missed for me.
430
00:17:36.690 --> 00:17:38.599
And I really had to force myself to go
431
00:17:38.599 --> 00:17:40.470
back to basics and learn this.
432
00:17:40.470 --> 00:17:42.568
So I think it's worth recapping.
433
00:17:42.568 --> 00:17:47.013
So hue is what we think about when we think of the,
434
00:17:47.013 --> 00:17:49.110
what the colour actually is.
435
00:17:49.110 --> 00:17:51.540
So when we think of red, yellow, blue,
436
00:17:51.540 --> 00:17:52.854
that refers to the hue.
437
00:17:52.854 --> 00:17:55.290
Skin is made up of all different hues.
438
00:17:55.290 --> 00:17:57.848
So it's got blue in it, absolutely.
439
00:17:57.848 --> 00:17:59.505
It's also got greens and purples
440
00:17:59.505 --> 00:18:02.695
and blues and violets and oranges.
441
00:18:02.695 --> 00:18:07.350
So the key really to getting really natural skin tones
442
00:18:07.350 --> 00:18:08.850
is having all those different hues
443
00:18:08.850 --> 00:18:11.793
and different parts of the portrait that we're working on.
444
00:18:12.781 --> 00:18:16.410
Value is more related to volume, I guess.
445
00:18:16.410 --> 00:18:18.812
So the lightness and darkness of a hue
446
00:18:18.812 --> 00:18:23.610
and using brighter values for example,
447
00:18:23.610 --> 00:18:25.860
is going to give this the sense
448
00:18:25.860 --> 00:18:27.378
that it's being hit by light
449
00:18:27.378 --> 00:18:30.360
and then darker values are gonna give the sense
450
00:18:30.360 --> 00:18:31.830
that it's more in the shadows.
451
00:18:31.830 --> 00:18:34.590
So being aware of lightness and darkness in a portrait
452
00:18:34.590 --> 00:18:36.840
is really important because it gives the sense
453
00:18:36.840 --> 00:18:38.730
that it's sitting in space.
454
00:18:38.730 --> 00:18:41.067
So a really good top tip that I like to use
455
00:18:41.067 --> 00:18:43.053
and it's something that you can do at home,
456
00:18:43.053 --> 00:18:45.417
or if you're working on
457
00:18:45.417 --> 00:18:47.329
another computer screen, for example,
458
00:18:47.329 --> 00:18:50.222
with the photo reference that you're working with,
459
00:18:50.222 --> 00:18:53.241
you can set your phone camera to grey scale,
460
00:18:53.241 --> 00:18:57.330
and then hold that grey scale kind of new version
461
00:18:57.330 --> 00:18:59.610
of your camera over your reference photo.
462
00:18:59.610 --> 00:19:01.129
Or you could even just turn your,
463
00:19:01.129 --> 00:19:02.944
your screen to black and white,
464
00:19:02.944 --> 00:19:06.450
and you can then get just an idea of the lightness
465
00:19:06.450 --> 00:19:09.060
and darkness of the work that you're the picture
466
00:19:09.060 --> 00:19:13.020
that you're working from without being distracted by colour.
467
00:19:13.020 --> 00:19:16.560
So colour and value are two different things.
468
00:19:16.560 --> 00:19:18.360
And so it's important to recognise that.
469
00:19:18.360 --> 00:19:20.915
As you can see in that little diagram there,
470
00:19:20.915 --> 00:19:24.990
I really love this diagram because that centre red,
471
00:19:24.990 --> 00:19:29.610
where we've got value, it looks very dark
472
00:19:29.610 --> 00:19:30.750
because it's so bright.
473
00:19:30.750 --> 00:19:32.790
But then when we put the grey scale over it,
474
00:19:32.790 --> 00:19:36.003
it's actually in the centre of the value scale.
475
00:19:37.560 --> 00:19:38.970
The last one is chroma
476
00:19:38.970 --> 00:19:42.780
and this is something that I find people know the least.
477
00:19:42.780 --> 00:19:45.653
People often quite familiar with hue and value,
478
00:19:45.653 --> 00:19:49.762
and chroma refers to the purity or the intensity of a colour.
479
00:19:49.762 --> 00:19:52.170
And this is really important
480
00:19:52.170 --> 00:19:55.383
because it's where the concept of blue comes in.
481
00:19:57.346 --> 00:20:00.005
If we've got skin tone that is far too saturated,
482
00:20:00.005 --> 00:20:02.160
that is far too intense.
483
00:20:02.160 --> 00:20:05.470
It's not gonna look natural if it's kind of pure orange,
484
00:20:05.470 --> 00:20:08.070
then it's, we don't really see that naturally.
485
00:20:08.070 --> 00:20:10.740
But if you add the complimentary to orange,
486
00:20:10.740 --> 00:20:13.748
which is obviously orange is made with yellow and red,
487
00:20:13.748 --> 00:20:16.590
if you add the complimentary, which is blue,
488
00:20:16.590 --> 00:20:19.770
it's gonna dull the chroma down by adding almost
489
00:20:19.770 --> 00:20:21.906
as what you can see on that little diagram,
490
00:20:21.906 --> 00:20:24.660
it adds kind of like a grey to it.
491
00:20:24.660 --> 00:20:26.610
It makes it less saturated.
492
00:20:26.610 --> 00:20:29.850
And that's how it turns from being this really vivid orange,
493
00:20:29.850 --> 00:20:32.100
to being a much more natural skin tone.
494
00:20:32.100 --> 00:20:35.160
So colours that have high saturation have
495
00:20:35.160 --> 00:20:37.950
a really great chroma and colours that are weak,
496
00:20:37.950 --> 00:20:39.625
have a lower chroma.
497
00:20:39.625 --> 00:20:42.450
So add the complimentary to whatever paint
498
00:20:42.450 --> 00:20:45.000
that you're working with to lower that chroma down.
499
00:20:46.101 --> 00:20:50.040
And so I've kind of just explained that here on this
500
00:20:50.040 --> 00:20:52.831
diagram, all of those three concepts working together,
501
00:20:52.831 --> 00:20:55.620
the hue of this is magenta,
502
00:20:55.620 --> 00:20:58.972
and then we've got a low value is the brighter values.
503
00:20:58.972 --> 00:21:02.541
And then a high value is down the bottom that's darker,
504
00:21:02.541 --> 00:21:05.520
a high chroma is in the top right corner
505
00:21:05.520 --> 00:21:06.624
that's really saturated.
506
00:21:06.624 --> 00:21:08.958
And then the low chroma is actually anything
507
00:21:08.958 --> 00:21:11.010
in the bottom left corner.
508
00:21:11.010 --> 00:21:15.126
So it's got more grey in it, yeah.
509
00:21:15.126 --> 00:21:18.603
We've had a lot of people asking questions about,
510
00:21:19.491 --> 00:21:21.810
you know, whether they're able to use certain paints
511
00:21:21.810 --> 00:21:22.815
over other paints.
512
00:21:22.815 --> 00:21:25.410
Do you wanna maybe, you might be getting into this
513
00:21:25.410 --> 00:21:26.760
after you've done the colour theory,
514
00:21:26.760 --> 00:21:29.040
but maybe touch on the ones that you've chosen
515
00:21:29.040 --> 00:21:31.051
and if other substitutes are okay.
516
00:21:31.051 --> 00:21:32.280
Yeah, absolutely.
517
00:21:32.280 --> 00:21:34.800
So this kind of goes into what I'm going to be
518
00:21:34.800 --> 00:21:36.330
talking about next as well.
519
00:21:36.330 --> 00:21:39.750
So the three colours that we've asked you
520
00:21:39.750 --> 00:21:43.950
to supply for today, in terms of the primary colours
521
00:21:43.950 --> 00:21:45.414
is lemon yellow.
522
00:21:45.414 --> 00:21:47.910
alizarin crimson and cobalt blue.
523
00:21:47.910 --> 00:21:51.661
So as I was saying, cobalt blue is the one blue colour
524
00:21:51.661 --> 00:21:54.180
that I prefer to use,
525
00:21:54.180 --> 00:21:56.550
but because it's used in such small quantities
526
00:21:56.550 --> 00:22:00.043
it's really not totally necessary to have that one.
527
00:22:00.043 --> 00:22:02.700
I like lemon yellow and alizarin crimson together
528
00:22:02.700 --> 00:22:05.274
just because I find that they're really beautiful colours
529
00:22:05.274 --> 00:22:08.400
to work with and they're both cool.
530
00:22:08.400 --> 00:22:11.908
So this idea of cool and warm hues is probably
531
00:22:11.908 --> 00:22:14.160
something to discuss first.
532
00:22:14.160 --> 00:22:16.830
And then I'll clarify why I've used these two.
533
00:22:16.830 --> 00:22:17.663
Absolutely.
534
00:22:17.663 --> 00:22:20.534
So all colours are either warm or cool
535
00:22:20.534 --> 00:22:23.040
and that refers to what undertone that they have.
536
00:22:23.040 --> 00:22:26.887
So a warm colour has a red or an orange undertone,
537
00:22:26.887 --> 00:22:29.910
and then a cool colour has a green, blue
538
00:22:29.910 --> 00:22:31.230
or a purple undertone.
539
00:22:31.230 --> 00:22:35.010
So if we want to achieve a true mix of colours,
540
00:22:35.010 --> 00:22:37.479
then you would want two cool colours or two warm colours.
541
00:22:37.479 --> 00:22:41.730
So it really doesn't matter whether you're working with
542
00:22:41.730 --> 00:22:44.920
these specific pigments, alizarin crimson or lemon yellow.
543
00:22:44.920 --> 00:22:47.340
It's more about making sure that
544
00:22:47.340 --> 00:22:50.428
they are colours that work well together.
545
00:22:50.428 --> 00:22:52.980
In saying that I don't think there's any rules
546
00:22:52.980 --> 00:22:56.130
when it comes to paint mixing, as long as it works for you.
547
00:22:56.130 --> 00:22:58.020
That's what's important.
548
00:22:58.020 --> 00:23:01.530
This little diagram here shows a few of the different colours
549
00:23:01.530 --> 00:23:04.260
that I personally like to work with.
550
00:23:04.260 --> 00:23:06.210
So for a cool palette,
551
00:23:06.210 --> 00:23:09.090
which is what we're working with today, that's lemon yellow,
552
00:23:09.090 --> 00:23:11.130
alizarin crimson and cobalt blue.
553
00:23:11.130 --> 00:23:14.820
Although people debate whether cobalt is warm or cool,
554
00:23:14.820 --> 00:23:18.337
so it can be used with either I think.
555
00:23:18.337 --> 00:23:21.390
If you have, for example, warm colours,
556
00:23:21.390 --> 00:23:23.698
like cadmium yellow deep or cadmium red
557
00:23:23.698 --> 00:23:25.863
that will also work just as well.
558
00:23:26.986 --> 00:23:29.910
Then I also like to have some browns in my palette.
559
00:23:29.910 --> 00:23:32.070
So that's why we've got a burnt umber
560
00:23:32.070 --> 00:23:34.715
and a titanium white as well to brighten.
561
00:23:34.715 --> 00:23:38.700
But really the main thing is to just be aware
562
00:23:38.700 --> 00:23:41.670
that whatever colours that you work with work well together,
563
00:23:41.670 --> 00:23:43.650
if you are working with say lemon yellow
564
00:23:43.650 --> 00:23:46.745
and cadmium red, which is a cool yellow and a warm red,
565
00:23:46.745 --> 00:23:48.870
the only difference is they're not gonna
566
00:23:48.870 --> 00:23:50.880
be as vibrant straight away.
567
00:23:50.880 --> 00:23:53.370
So that might mean that you add less blue into it
568
00:23:53.370 --> 00:23:56.550
because the undertone of the cool yellow,
569
00:23:56.550 --> 00:23:58.440
which has some blue in it already
570
00:23:58.440 --> 00:24:01.942
is going to mix in with the cadmium red, which is warm
571
00:24:01.942 --> 00:24:04.560
and already add a little bit of blue into it.
572
00:24:04.560 --> 00:24:06.544
So it really depends.
573
00:24:06.544 --> 00:24:09.927
Personally, I find that lemon yellow
574
00:24:09.927 --> 00:24:11.400
and alizarin crimson are nice,
575
00:24:11.400 --> 00:24:15.060
but they don't have to be those ones exactly.
576
00:24:15.060 --> 00:24:16.620
Terrific, thank you.
577
00:24:16.620 --> 00:24:18.540
So here's a point about blue,
578
00:24:18.540 --> 00:24:21.410
which is a bit of the theme today so far.
579
00:24:21.410 --> 00:24:25.500
The role of blue and skin tone is like I was saying
580
00:24:25.500 --> 00:24:26.568
just to lower the chroma down.
581
00:24:26.568 --> 00:24:28.950
Because we're mixing up red and yellow,
582
00:24:28.950 --> 00:24:30.030
which creates an orange.
583
00:24:30.030 --> 00:24:31.830
The blue makes it more natural.
584
00:24:31.830 --> 00:24:34.650
And as I've been saying, blue is very strong.
585
00:24:34.650 --> 00:24:36.480
So that's why I choose cobalt blue
586
00:24:36.480 --> 00:24:38.430
because slightly too much of it
587
00:24:38.430 --> 00:24:40.410
makes your skin tone turn green.
588
00:24:40.410 --> 00:24:43.833
So just be aware that when you are mixing these up,
589
00:24:44.790 --> 00:24:46.320
I'll guide you as well.
590
00:24:46.320 --> 00:24:48.915
When I say to use a teeny tiny little bit of blue,
591
00:24:48.915 --> 00:24:52.830
listen to that because a lot of people they hear teeny tiny
592
00:24:52.830 --> 00:24:54.360
and they think that they're only
593
00:24:54.360 --> 00:24:56.880
putting like a half a pea size mountain,
594
00:24:56.880 --> 00:25:00.090
but a teeny tiny amount of blue might be like
595
00:25:00.090 --> 00:25:03.240
a pin size, pin head size amount.
596
00:25:03.240 --> 00:25:05.606
So we'll have cameras up as well to show
597
00:25:05.606 --> 00:25:08.640
what I'm mixing and you'll be able to see the quantities.
598
00:25:08.640 --> 00:25:12.993
But yeah, be aware of that, that blue is very strong.
599
00:25:14.674 --> 00:25:19.290
Okay, so working with a portrait, as I've been saying,
600
00:25:19.290 --> 00:25:21.829
there's so many different undertones in faces,
601
00:25:21.829 --> 00:25:25.470
there's so many different hues within the colour wheel.
602
00:25:25.470 --> 00:25:27.630
I wanted to visualise that before we get
603
00:25:27.630 --> 00:25:29.811
into the paint mixing, which we'll be doing next.
604
00:25:29.811 --> 00:25:33.900
So the portrait that I'm going to be working from today
605
00:25:33.900 --> 00:25:34.830
is on the screen.
606
00:25:34.830 --> 00:25:37.350
And you'll obviously have all of your own pieces
607
00:25:37.350 --> 00:25:38.624
that you're working from,
608
00:25:38.624 --> 00:25:42.858
but this still applies no matter who you're working with.
609
00:25:42.858 --> 00:25:46.830
This idea that, what I've done is I've taken this portrait
610
00:25:46.830 --> 00:25:48.060
and I've put it into Photoshop
611
00:25:48.060 --> 00:25:51.301
and I've isolated out all these different parts of the face,
612
00:25:51.301 --> 00:25:53.310
these different colours.
613
00:25:53.310 --> 00:25:55.770
And then when you look at where
614
00:25:55.770 --> 00:25:58.230
this colour belongs in the colour family,
615
00:25:58.230 --> 00:26:02.018
I guess you can see we've got some that are very orange.
616
00:26:02.018 --> 00:26:03.510
Some that are very red
617
00:26:03.510 --> 00:26:05.670
and then some that have blue undertones.
618
00:26:05.670 --> 00:26:10.442
So that's important because what we're mixing up today
619
00:26:10.442 --> 00:26:13.140
is if I can do my maths correctly,
620
00:26:13.140 --> 00:26:17.259
we're doing about 25 colours that we're mixing up.
621
00:26:17.259 --> 00:26:20.340
But within that there's not much contrast.
622
00:26:20.340 --> 00:26:22.620
They're all gonna be very slightly changes.
623
00:26:22.620 --> 00:26:24.630
So some are gonna be slightly more red.
624
00:26:24.630 --> 00:26:27.684
Some will be slightly more yellow or slightly more orange,
625
00:26:27.684 --> 00:26:31.290
but by themselves they might look quite similar
626
00:26:31.290 --> 00:26:32.123
to each other.
627
00:26:32.123 --> 00:26:34.050
But as we can see from this slide,
628
00:26:34.050 --> 00:26:36.930
the undertones in faces are very important.
629
00:26:36.930 --> 00:26:40.290
So even though the colour themselves might look the same,
630
00:26:40.290 --> 00:26:41.730
they've got different undertones
631
00:26:41.730 --> 00:26:45.174
and the eye can still sense that, especially in a painting.
632
00:26:45.174 --> 00:26:47.610
So being aware of that is important.
633
00:26:47.610 --> 00:26:49.770
And so if you're mixing today and you're finding
634
00:26:49.770 --> 00:26:51.829
that some of your colours are looking similar,
635
00:26:51.829 --> 00:26:53.667
don't be alarmed by that.
636
00:26:53.667 --> 00:26:55.470
In fact, that's a good thing
637
00:26:55.470 --> 00:26:59.280
because you're still using a different process to get there.
638
00:26:59.280 --> 00:27:02.880
And the ultimate effect is still gonna register
639
00:27:02.880 --> 00:27:04.740
on the painting that you're working from.
640
00:27:04.740 --> 00:27:07.530
Terrific, we'll also have a copy
641
00:27:07.530 --> 00:27:09.990
of your reference image, which we are able to put up
642
00:27:09.990 --> 00:27:11.550
for all the people working from home.
643
00:27:11.550 --> 00:27:14.100
So if you feel free to work off the ones
644
00:27:14.100 --> 00:27:15.870
that you've preprepared and brought along,
645
00:27:15.870 --> 00:27:18.480
otherwise we will have your reference shop
646
00:27:18.480 --> 00:27:19.917
that's available for people to look at as well.
647
00:27:19.917 --> 00:27:21.894
Yes absolutely, yeah.
648
00:27:21.894 --> 00:27:23.610
Terrific.
649
00:27:23.610 --> 00:27:27.783
Fantastic, so this is what we are making today.
650
00:27:28.890 --> 00:27:32.378
So what I've asked people to do is have
651
00:27:32.378 --> 00:27:36.290
two canvases or canvas boards.
652
00:27:36.290 --> 00:27:40.100
One of the canvas boards is the larger canvas,
653
00:27:40.100 --> 00:27:42.665
and it doesn't have to be the exact same measurements
654
00:27:42.665 --> 00:27:45.180
that we asked you to supply,
655
00:27:45.180 --> 00:27:47.610
but we'll have the larger one will be the one
656
00:27:47.610 --> 00:27:50.100
that we are gonna be painting the portrait on.
657
00:27:50.100 --> 00:27:53.880
And hopefully you might have drawn a pre-sketch onto that.
658
00:27:53.880 --> 00:27:57.720
So you're ready to get started for that smaller canvas board
659
00:27:57.720 --> 00:27:59.280
that I'm working from.
660
00:27:59.280 --> 00:28:03.510
I'm going to be transferring the information
661
00:28:03.510 --> 00:28:05.760
on the slide onto this canvas board
662
00:28:05.760 --> 00:28:08.864
and filling in all of these little squares.
663
00:28:08.864 --> 00:28:12.049
So I'll be mixing up paints and then adding them in,
664
00:28:12.049 --> 00:28:15.150
and then writing all of my information here.
665
00:28:15.150 --> 00:28:18.180
So by the way, this doesn't have to be exactly
666
00:28:18.180 --> 00:28:19.013
the same as yours.
667
00:28:19.013 --> 00:28:22.140
I like to use these because they're quite easy to,
668
00:28:22.140 --> 00:28:24.630
to carry around and transport and show people.
669
00:28:24.630 --> 00:28:27.318
But even if you just have like
670
00:28:27.318 --> 00:28:30.330
a visual journal that you're working from,
671
00:28:30.330 --> 00:28:31.860
that's totally fine as well.
672
00:28:31.860 --> 00:28:36.860
So I've pre lined mine out but it would be a good point
673
00:28:36.900 --> 00:28:40.320
now for all of you to line or just draw some lines
674
00:28:40.320 --> 00:28:42.240
into your, whether you're working from a diary
675
00:28:42.240 --> 00:28:44.340
or from another small little canvas board.
676
00:28:44.340 --> 00:28:47.359
So I might just hold this up a bit higher to the camera.
677
00:28:47.359 --> 00:28:52.359
It's one, two, three, four, five by one, two
678
00:28:53.310 --> 00:28:56.160
five by four lines, six,
679
00:28:57.918 --> 00:29:02.730
six by five rows and columns.
680
00:29:02.730 --> 00:29:05.608
But you only need to draw five lines horizontally
681
00:29:05.608 --> 00:29:07.530
and four lines vertically.
682
00:29:07.530 --> 00:29:09.030
So it doesn't have to be perfect.
683
00:29:09.030 --> 00:29:11.190
It's more just to get this nice grid.
684
00:29:11.190 --> 00:29:15.480
And this longer grid here is for you to write information.
685
00:29:15.480 --> 00:29:17.733
I'll show you an example that I made earlier.
686
00:29:21.600 --> 00:29:25.500
So this is a bit smaller.
687
00:29:25.500 --> 00:29:28.890
So ignore this black, this blank space here.
688
00:29:28.890 --> 00:29:30.660
We're only gonna be creating this middle part,
689
00:29:30.660 --> 00:29:32.400
but you just wanna have some nice squares.
690
00:29:32.400 --> 00:29:36.990
So four by five, and then some information space
691
00:29:36.990 --> 00:29:38.490
for some information on the side
692
00:29:38.490 --> 00:29:40.950
but we'll be going through this row by row.
693
00:29:40.950 --> 00:29:42.690
So you don't have to rule it all up now,
694
00:29:42.690 --> 00:29:45.540
is if you can get the first row down that would be great.
695
00:29:47.130 --> 00:29:48.270
If while you're doing that,
696
00:29:48.270 --> 00:29:51.240
I'll speak through the order in which we're gonna
697
00:29:51.240 --> 00:29:52.740
get this information down.
698
00:29:52.740 --> 00:29:55.699
So we've got five rows.
699
00:29:55.699 --> 00:30:00.699
The first two rows are your cool oranges.
700
00:30:01.110 --> 00:30:03.030
So keep in mind, this is what I'm doing
701
00:30:03.030 --> 00:30:04.740
because I'm working with cool colours.
702
00:30:04.740 --> 00:30:06.883
I'm working with the lemon yellow, and alizarin
703
00:30:06.883 --> 00:30:10.890
if you have warm pinks, oh, sorry, pinks.
704
00:30:10.890 --> 00:30:13.260
If you have warm colours, then you are gonna create
705
00:30:13.260 --> 00:30:15.660
something that is more pinky potentially.
706
00:30:15.660 --> 00:30:18.480
You're gonna be creating something that is warm orange
707
00:30:18.480 --> 00:30:21.450
and warm pink, as opposed to cool orange and cool pink
708
00:30:21.450 --> 00:30:23.370
but the effect will ultimately be the same.
709
00:30:23.370 --> 00:30:25.920
So that's not a problem.
710
00:30:25.920 --> 00:30:29.130
So the first two rows will be cool orange,
711
00:30:29.130 --> 00:30:32.506
and we're starting with mid toned to light.
712
00:30:32.506 --> 00:30:34.500
Then the next column will be,
713
00:30:34.500 --> 00:30:36.774
next row will be mid tone to dark.
714
00:30:36.774 --> 00:30:39.540
Then the next two will be our pinks.
715
00:30:39.540 --> 00:30:40.650
It will be the same again.
716
00:30:40.650 --> 00:30:43.276
So it'll be mid to light and then mid to dark.
717
00:30:43.276 --> 00:30:47.099
And then that final row is going to be a grey or a purple.
718
00:30:47.099 --> 00:30:50.520
And we'll go through these as I was saying row by row.
719
00:30:50.520 --> 00:30:53.741
And I'll speak through what each of these is good for,
720
00:30:53.741 --> 00:30:57.218
but that's just a little bit of an overview of what this
721
00:30:57.218 --> 00:31:01.593
grid will end up looking like by the end of this session.
722
00:31:01.593 --> 00:31:06.593
A few little tips about how to approach this,
723
00:31:06.960 --> 00:31:08.692
especially if you're new to mixing.
724
00:31:08.692 --> 00:31:12.960
Two brighten values, which we'll be doing three times
725
00:31:12.960 --> 00:31:16.410
over three rows, you need to add white progressively.
726
00:31:16.410 --> 00:31:20.220
So we'll mix up a colour, will save some of that colour
727
00:31:20.220 --> 00:31:23.399
will put that to the side to work with in the afternoon.
728
00:31:23.399 --> 00:31:26.850
And then with what we've got left on the mixing palette,
729
00:31:26.850 --> 00:31:28.380
you'll add some white to that,
730
00:31:28.380 --> 00:31:29.850
make it a little bit brighter.
731
00:31:29.850 --> 00:31:31.890
Save half of that add white again.
732
00:31:31.890 --> 00:31:35.040
So you add white progressively to brighten values,
733
00:31:35.040 --> 00:31:37.410
to darken values though it's a little bit different
734
00:31:37.410 --> 00:31:39.379
and we'll be going through this, of course
735
00:31:39.379 --> 00:31:41.828
but it's not the same as just adding black,
736
00:31:41.828 --> 00:31:45.150
for example, or brown to darken.
737
00:31:45.150 --> 00:31:48.750
You need to add a combination of blue, alizarin crimson
738
00:31:48.750 --> 00:31:51.720
or whatever your red is and burnt umber
739
00:31:51.720 --> 00:31:53.130
and that's what's gonna darken it.
740
00:31:53.130 --> 00:31:54.360
So we'll work through that,
741
00:31:54.360 --> 00:31:57.450
but that's just to be aware of the process
742
00:31:57.450 --> 00:31:59.610
to darken skin tone is different than the process
743
00:31:59.610 --> 00:32:01.084
to brighten skin tone.
744
00:32:01.084 --> 00:32:04.427
And then four tips to be economical with your paint
745
00:32:04.427 --> 00:32:07.080
and you'll have the freedom
746
00:32:07.080 --> 00:32:09.660
and the luxury of using as much paint as you like.
747
00:32:09.660 --> 00:32:11.970
But when I teach these in person, it's very different
748
00:32:11.970 --> 00:32:15.870
because we are working with kind of smaller quantities
749
00:32:15.870 --> 00:32:17.910
of paint, but it's still good to be aware
750
00:32:17.910 --> 00:32:20.880
because obviously oil paint is expensive.
751
00:32:20.880 --> 00:32:21.990
You wanna be able to make sure
752
00:32:21.990 --> 00:32:24.630
that you're not wasting as much as possible.
753
00:32:24.630 --> 00:32:27.219
So a few little tips.
754
00:32:27.219 --> 00:32:31.710
Add darker colours or stronger colours into lighter colours.
755
00:32:31.710 --> 00:32:35.430
So for example, you wouldn't want to have loads of blue
756
00:32:35.430 --> 00:32:38.730
on your paint and then progressively add
757
00:32:38.730 --> 00:32:41.953
red and yellow into it to get it to the colour that you need.
758
00:32:41.953 --> 00:32:45.638
You would want to start with the yellow and the red,
759
00:32:45.638 --> 00:32:48.006
and then slowly add the blue to it,
760
00:32:48.006 --> 00:32:49.260
to get it to the colour.
761
00:32:49.260 --> 00:32:51.372
So start with your lighter colours,
762
00:32:51.372 --> 00:32:53.670
mix darker colours into that.
763
00:32:53.670 --> 00:32:55.999
And then on that same vein,
764
00:32:55.999 --> 00:32:59.370
progressively add smaller amounts of colour into the paint.
765
00:32:59.370 --> 00:33:03.450
So even if it don't try and judge it straight away
766
00:33:03.450 --> 00:33:05.520
by getting the exact amount at the start,
767
00:33:05.520 --> 00:33:09.420
it's better to go slow and mix more slowly
768
00:33:09.420 --> 00:33:12.355
and less at a time than to jump ahead.
769
00:33:12.355 --> 00:33:15.900
That being in mind, if you do mix the wrong colour,
770
00:33:15.900 --> 00:33:18.156
which always happens, I often do it myself.
771
00:33:18.156 --> 00:33:20.700
I'll get ahead of myself and I'll rush
772
00:33:20.700 --> 00:33:22.732
and I'll mix the wrong colour.
773
00:33:22.732 --> 00:33:25.620
Try and notice that you've made that mistake.
774
00:33:25.620 --> 00:33:27.296
And if you do, don't worry.
775
00:33:27.296 --> 00:33:29.958
But if you're noticing it's not looking right,
776
00:33:29.958 --> 00:33:33.705
and it's important to be able to make that judgement ,
777
00:33:33.705 --> 00:33:36.360
just scoop up all the paint and save it
778
00:33:36.360 --> 00:33:37.410
and put it to the side
779
00:33:37.410 --> 00:33:40.683
because you'll probably find you can use it later on anyway.
780
00:33:42.720 --> 00:33:45.060
So if you have mixed the wrong colour,
781
00:33:45.060 --> 00:33:48.549
then just put it to the side and begin again.
782
00:33:48.549 --> 00:33:51.840
And then the final thing is to wipe the pallet knife
783
00:33:51.840 --> 00:33:53.940
between mixing colours.
784
00:33:53.940 --> 00:33:57.930
So it's so easy for you to contaminate your mix.
785
00:33:57.930 --> 00:34:01.470
For example, if you are not keeping things clean,
786
00:34:01.470 --> 00:34:04.770
especially your brushes and your pallet knife.
787
00:34:04.770 --> 00:34:07.290
So if you've got some Chuck's cloth with you
788
00:34:07.290 --> 00:34:10.680
or some baby wipes, that is a great way
789
00:34:10.680 --> 00:34:13.380
to keep your pallet knife clean.
790
00:34:13.380 --> 00:34:14.756
Terrific.
791
00:34:14.756 --> 00:34:17.610
Great, so we're just about ready to get started
792
00:34:17.610 --> 00:34:20.250
with the mixing, with your pallet.
793
00:34:20.250 --> 00:34:21.083
Melissa, does it matter
794
00:34:21.083 --> 00:34:22.841
if people are using acrylics?
795
00:34:22.841 --> 00:34:25.315
No, not necessarily
796
00:34:25.315 --> 00:34:28.343
because the process is basically the same.
797
00:34:28.343 --> 00:34:32.404
I work with oils, so that's what I like to teach.
798
00:34:32.404 --> 00:34:34.740
If you are more familiar with acrylics
799
00:34:34.740 --> 00:34:37.590
and you know, how they work, then that's absolutely fine.
800
00:34:37.590 --> 00:34:39.000
The one thing to bear in mind though
801
00:34:39.000 --> 00:34:41.831
because this is a three hour long workshop
802
00:34:41.831 --> 00:34:44.070
by the afternoon you might need to mix up
803
00:34:44.070 --> 00:34:47.940
some fresh paint for the painting because it might dry out.
804
00:34:47.940 --> 00:34:49.470
If you're working with certain mediums
805
00:34:49.470 --> 00:34:52.712
that keep the paint wet for longer, then it should be okay.
806
00:34:52.712 --> 00:34:55.717
But absolutely the colours don't change
807
00:34:55.717 --> 00:34:58.140
depending on whether it's oil or acrylic.
808
00:34:58.140 --> 00:34:59.760
That's great, thank you.
809
00:34:59.760 --> 00:35:02.491
A few little tips about how to keep your palette clean,
810
00:35:02.491 --> 00:35:05.967
try and keep your pure pigments to one side of the pallet,
811
00:35:05.967 --> 00:35:08.994
save a whole area that will be for mixing.
812
00:35:08.994 --> 00:35:11.566
So I've got three pallets today.
813
00:35:11.566 --> 00:35:14.580
One pallet I'm just keeping my pure paint on,
814
00:35:14.580 --> 00:35:16.680
the second is going to be for mixing.
815
00:35:16.680 --> 00:35:18.745
And then the third is going to be where I mix
816
00:35:18.745 --> 00:35:20.817
my paints and put them to the side.
817
00:35:20.817 --> 00:35:24.924
So obviously you don't wanna mix up your paint
818
00:35:24.924 --> 00:35:28.140
and then just wipe it and dispose of it.
819
00:35:28.140 --> 00:35:29.460
You wanna save what you're making?
820
00:35:29.460 --> 00:35:31.440
That's why we're doing all of this work.
821
00:35:31.440 --> 00:35:34.479
So as you go, when you've mixed a colour that you like
822
00:35:34.479 --> 00:35:36.639
scoop it up with your pallet knife
823
00:35:36.639 --> 00:35:38.490
and then put it to the side.
824
00:35:38.490 --> 00:35:40.832
So that later on, we've got it and it's ready to go.
825
00:35:40.832 --> 00:35:42.824
Terrific.
826
00:35:42.824 --> 00:35:47.824
Okay, so I think we're ready to get going with the mixing.
827
00:35:48.240 --> 00:35:52.371
Does, I mean, I can't ask all of you if you're ready,
828
00:35:52.371 --> 00:35:56.910
but hopefully you have all of your paint ready to go.
829
00:35:56.910 --> 00:35:58.920
I've got all of my colours squeezed out
830
00:35:58.920 --> 00:36:03.630
onto my little tile pallet and I've got my brushes
831
00:36:03.630 --> 00:36:05.220
and then my pallet knife.
832
00:36:05.220 --> 00:36:07.740
And I've also got the canvas board
833
00:36:07.740 --> 00:36:10.129
that I'm working with with my grid on it.
834
00:36:10.129 --> 00:36:12.420
If you haven't got that full grid ruled out yet,
835
00:36:12.420 --> 00:36:13.920
don't worry too much.
836
00:36:13.920 --> 00:36:15.990
As long as you have that first row,
837
00:36:15.990 --> 00:36:17.250
that's what's most important
838
00:36:17.250 --> 00:36:19.079
because that's what we're starting with.
839
00:36:19.079 --> 00:36:22.261
So we're beginning with a cool orange,
840
00:36:22.261 --> 00:36:24.087
which is mid to light.
841
00:36:24.087 --> 00:36:27.210
And the reason why it's orange is because
842
00:36:27.210 --> 00:36:30.600
it's going to have more yellow as opposed to red.
843
00:36:30.600 --> 00:36:34.470
So we're still going to be using the yellow
844
00:36:34.470 --> 00:36:37.050
and the red mixed together to make an orange,
845
00:36:37.050 --> 00:36:39.990
but it's going to be more on the orange side,
846
00:36:39.990 --> 00:36:42.685
as opposed to the red side, it's gonna be more of
847
00:36:42.685 --> 00:36:44.590
a yellowy orange.
848
00:36:44.590 --> 00:36:49.590
So this kind of pigment I find is fantastic to use
849
00:36:50.670 --> 00:36:53.430
for the parts of the face that have less blood in it.
850
00:36:53.430 --> 00:36:55.410
If you think of it logically like that,
851
00:36:55.410 --> 00:36:57.750
the parts of the face, where the bone is closer to the skin.
852
00:36:57.750 --> 00:37:01.950
So potentially the jaw, the cheek bones, the forehead,
853
00:37:01.950 --> 00:37:05.224
absolutely even the brow bone.
854
00:37:05.224 --> 00:37:09.810
So obviously if you think that the colour of the red
855
00:37:09.810 --> 00:37:13.402
kind of blush of a face comes from blood and blood vessels
856
00:37:13.402 --> 00:37:14.670
in the skin.
857
00:37:14.670 --> 00:37:18.600
So if you're just using or mixing up skin tone,
858
00:37:18.600 --> 00:37:22.004
that is too pink, then that's gonna look far too,
859
00:37:22.004 --> 00:37:24.511
kind of monochrome.
860
00:37:24.511 --> 00:37:29.511
It's about having these contrasts in values or, sorry, hues.
861
00:37:29.880 --> 00:37:31.140
That is what's gonna create something
862
00:37:31.140 --> 00:37:32.490
that looks really natural.
863
00:37:32.490 --> 00:37:35.250
So these orange tones, we're gonna be making something
864
00:37:35.250 --> 00:37:37.170
that is first on the lighter end of the spectrum.
865
00:37:37.170 --> 00:37:38.400
Then we're gonna make something darker
866
00:37:38.400 --> 00:37:40.840
on the next column, next row.
867
00:37:40.840 --> 00:37:45.005
So I'm going to begin by grabbing some lemon yellow,
868
00:37:45.005 --> 00:37:49.394
and you'll notice that the yellow is the weakest colour.
869
00:37:49.394 --> 00:37:51.990
The red is a little bit stronger,
870
00:37:51.990 --> 00:37:54.688
and then the blue is strongest out of those three.
871
00:37:54.688 --> 00:37:57.540
So because of that, I'm starting with yellow
872
00:37:57.540 --> 00:38:00.303
and I'm gonna add the next two colours into that.
873
00:38:04.250 --> 00:38:09.010
And I'm gonna grab about a pea size amount of yellow
874
00:38:10.650 --> 00:38:12.393
and place that on my pallet.
875
00:38:14.010 --> 00:38:16.110
If you've not used a pallet knife before
876
00:38:16.110 --> 00:38:19.200
I find the best way to hold is if I can demonstrate,
877
00:38:19.200 --> 00:38:21.030
like, whereas there we go.
878
00:38:21.030 --> 00:38:24.678
So hold it kind of in your fist with your fingers underneath
879
00:38:24.678 --> 00:38:27.390
and then with your thumb on top as well.
880
00:38:27.390 --> 00:38:28.650
So more like this,
881
00:38:28.650 --> 00:38:33.650
scoop up and then rotate your hand and push back down.
882
00:38:37.050 --> 00:38:39.180
I find that's the best way to mix
883
00:38:39.180 --> 00:38:41.223
rather than say, going like this.
884
00:38:43.500 --> 00:38:45.753
You wanna scoop up and then push back down.
885
00:38:48.180 --> 00:38:50.130
So we're grabbing a nice generous amount
886
00:38:50.130 --> 00:38:53.896
of the lemon yellow and then I'm gonna take some red,
887
00:38:53.896 --> 00:38:57.750
but a little bit less red than I took of the yellow
888
00:38:57.750 --> 00:39:01.142
because red is stronger than the yellow.
889
00:39:01.142 --> 00:39:03.963
And then I'll push that in and mix.
890
00:39:07.140 --> 00:39:07.973
and straight away you can see
891
00:39:07.973 --> 00:39:11.253
that's a really nice bright orange.
892
00:39:14.850 --> 00:39:17.850
So just to answer Evelyn's question.
893
00:39:17.850 --> 00:39:19.320
Oh, sorry. Kelly's question.
894
00:39:19.320 --> 00:39:22.980
We have five by six grid squares.
895
00:39:22.980 --> 00:39:25.293
Is that correct, that you're working with?
896
00:39:28.080 --> 00:39:30.342
Yes.
Yes.
897
00:39:30.342 --> 00:39:33.480
Yeah, so five by six,
898
00:39:33.480 --> 00:39:38.221
but the small squares are four by five.
899
00:39:38.221 --> 00:39:42.363
So four by five of the actual paints that we're mixing up.
900
00:39:44.423 --> 00:39:46.950
And then we've got the bit on the left hand side
901
00:39:46.950 --> 00:39:49.590
for instructions or notes.
902
00:39:49.590 --> 00:39:51.153
Yes, that's right.
903
00:39:53.160 --> 00:39:55.760
I'm definitely more of an artist than a math person.
904
00:39:56.813 --> 00:39:58.813
I can't do math to save myself.
905
00:39:59.891 --> 00:40:02.725
So I ended up adding in a little bit more yellow
906
00:40:02.725 --> 00:40:06.082
because this is basically what we want to get to.
907
00:40:06.082 --> 00:40:07.800
Hopefully you can all see that,
908
00:40:07.800 --> 00:40:11.733
it's much more of a yellowy orange than a red orange.
909
00:40:13.020 --> 00:40:16.125
So going back to the colour theory at this point,
910
00:40:16.125 --> 00:40:20.280
this is got far too much of a high chroma.
911
00:40:20.280 --> 00:40:23.220
We wouldn't really ever see that naturally in skin tone.
912
00:40:23.220 --> 00:40:25.980
So the way that we bump the chroma down
913
00:40:25.980 --> 00:40:27.660
is by adding a bit of blue.
914
00:40:27.660 --> 00:40:32.368
So I'm gonna pick up a little, this is when I say like the,
915
00:40:32.368 --> 00:40:35.640
the pinhead size amount of blue that I'm gonna add
916
00:40:35.640 --> 00:40:39.575
and you'll see straight away how much that tins the colour.
917
00:40:39.575 --> 00:40:41.463
It really changes it.
918
00:40:46.290 --> 00:40:49.680
And don't be scared if it looks green straight away.
919
00:40:49.680 --> 00:40:50.760
If it's looking really green,
920
00:40:50.760 --> 00:40:52.800
then you've probably added too much,
921
00:40:52.800 --> 00:40:54.750
but it is going to change that
922
00:40:54.750 --> 00:40:57.240
into more of a brown as opposed to an orange.
923
00:40:57.240 --> 00:40:58.240
That's what we want.
924
00:41:07.780 --> 00:41:10.500
Can see lots of people, busily mixing.
925
00:41:10.500 --> 00:41:11.950
Yeah that's good.
926
00:41:15.630 --> 00:41:19.680
Okay, so I've just kind of scooped up, pushed down
927
00:41:19.680 --> 00:41:21.240
maybe about 10 or 20 times,
928
00:41:21.240 --> 00:41:23.022
depending on how quick I'm doing it.
929
00:41:23.022 --> 00:41:25.830
And that's thoroughly mixed now.
930
00:41:25.830 --> 00:41:30.718
So with that in mind, I've got quite
931
00:41:30.718 --> 00:41:33.506
a nice amount of paint there.
932
00:41:33.506 --> 00:41:38.506
I'm going to save half of it and then put it to the side
933
00:41:38.820 --> 00:41:41.280
and then I'll still have half left on the mixing
934
00:41:41.280 --> 00:41:42.416
part of my palette.
935
00:41:42.416 --> 00:41:44.545
So it's important that we do this
936
00:41:44.545 --> 00:41:47.550
because obviously we like this colour.
937
00:41:47.550 --> 00:41:48.630
This is a good colour.
938
00:41:48.630 --> 00:41:49.830
We're gonna want to use it later.
939
00:41:49.830 --> 00:41:51.960
so we don't wanna waste it, so save it.
940
00:41:51.960 --> 00:41:54.540
So take up half and then pop it
941
00:41:54.540 --> 00:41:56.370
on another part of the pallet.
942
00:41:56.370 --> 00:41:58.560
So in this case, I've got whole separate
943
00:41:58.560 --> 00:42:00.425
little mixing pallet for myself,
944
00:42:00.425 --> 00:42:03.450
but just to this, the side of your pallet,
945
00:42:03.450 --> 00:42:05.015
keep that separate.
946
00:42:05.015 --> 00:42:08.923
And then we'll paint these all in at the very end
947
00:42:08.923 --> 00:42:11.400
but just bear in mind that colour,
948
00:42:11.400 --> 00:42:14.940
that we've just mixed up is going to be number one of four
949
00:42:14.940 --> 00:42:16.530
on our first row.
950
00:42:16.530 --> 00:42:21.507
So that will go in our first little square on the top.
951
00:42:21.507 --> 00:42:23.910
So we've got that saved
952
00:42:23.910 --> 00:42:26.162
and then we've got a little bit left.
953
00:42:26.162 --> 00:42:29.940
This is then going to be number two.
954
00:42:29.940 --> 00:42:33.450
So the second square across and just a little disclaimer,
955
00:42:33.450 --> 00:42:36.107
don't feel like it has to be perfect.
956
00:42:36.107 --> 00:42:38.910
Don't feel like, you know,
957
00:42:38.910 --> 00:42:40.830
if you've accidentally put a square
958
00:42:40.830 --> 00:42:42.668
in the wrong position, don't worry.
959
00:42:42.668 --> 00:42:45.660
It's more about, you're learning the process of painting.
960
00:42:45.660 --> 00:42:47.100
It's not about having this beautiful,
961
00:42:47.100 --> 00:42:48.840
perfect grid at the end.
962
00:42:48.840 --> 00:42:52.890
So just be aware that you're learning
963
00:42:52.890 --> 00:42:56.790
and it's you know, if it's not perfect,
964
00:42:56.790 --> 00:42:59.338
if it's not looking super pretty, that's absolutely fine.
965
00:42:59.338 --> 00:43:02.700
I'm gonna now add a bit of white to this to brighten it
966
00:43:02.700 --> 00:43:06.363
because we're going from a mid tone to a light value.
967
00:43:09.430 --> 00:43:11.720
How much white would you say
968
00:43:11.720 --> 00:43:13.212
that you added there Melissa?
969
00:43:13.212 --> 00:43:14.790
I just did a little scoop.
970
00:43:14.790 --> 00:43:18.300
So probably about the same as I added of the alizarin.
971
00:43:18.300 --> 00:43:21.266
So I need like minuscule measurement.
972
00:43:21.266 --> 00:43:22.874
Yes, we do.
Units,
973
00:43:22.874 --> 00:43:25.078
half a pea size.
974
00:43:25.078 --> 00:43:26.730
If that makes sense.
975
00:43:26.730 --> 00:43:28.320
But remember it's just progressive.
976
00:43:28.320 --> 00:43:32.209
So I might choose to add more,
977
00:43:32.209 --> 00:43:35.130
but I'm just adding little bits at a time
978
00:43:35.130 --> 00:43:36.450
but I think this is good.
979
00:43:36.450 --> 00:43:38.520
The main thing you wanna look for is that you're getting
980
00:43:38.520 --> 00:43:41.100
something that is a different value to what you had before.
981
00:43:41.100 --> 00:43:44.319
So the first value that we mix just before
982
00:43:44.319 --> 00:43:45.804
is gonna be number one,
983
00:43:45.804 --> 00:43:48.780
this one because we've added some white doesn't matter
984
00:43:48.780 --> 00:43:51.364
if someone has added more or less than me,
985
00:43:51.364 --> 00:43:54.510
as long as it's a different value, that's what's important.
986
00:43:54.510 --> 00:43:56.790
So that white has already made
987
00:43:56.790 --> 00:43:59.610
that a much nicer, brighter value.
988
00:43:59.610 --> 00:44:02.580
We can see that contrast and change.
989
00:44:02.580 --> 00:44:07.353
So I'll scoop up half of this and put it to the side,
990
00:44:08.340 --> 00:44:09.990
but I've still got a little bit more left
991
00:44:09.990 --> 00:44:12.750
and the reason why we can keep splitting it in half
992
00:44:12.750 --> 00:44:14.010
and we've still got some left is 'cause
993
00:44:14.010 --> 00:44:15.630
we're adding a bit more paint each time.
994
00:44:15.630 --> 00:44:16.530
I see.
995
00:44:16.530 --> 00:44:20.187
So we've still got a little bit of that
996
00:44:20.187 --> 00:44:22.500
lighter skin tone left,
997
00:44:22.500 --> 00:44:25.650
but now we wanna mix up an even brighter value.
998
00:44:25.650 --> 00:44:28.980
So this is gonna be value number three.
999
00:44:28.980 --> 00:44:31.320
So we want to add more white again.
1000
00:44:31.320 --> 00:44:33.159
So I'll just add the same amount of white again
1001
00:44:33.159 --> 00:44:36.183
that I did for that second colour that I mixed.
1002
00:44:47.250 --> 00:44:50.273
So just to recap, those colours that have gone in
1003
00:44:50.273 --> 00:44:54.619
for the first one, we had the pea size bit of yellow.
1004
00:44:54.619 --> 00:44:59.509
We had slightly less bit of the red colour.
1005
00:44:59.509 --> 00:45:03.567
And a tiny, tiny pin head size bit of blue.
1006
00:45:03.567 --> 00:45:06.810
And then we've just been since then for the next two,
1007
00:45:06.810 --> 00:45:08.430
lots of chroma changes.
1008
00:45:08.430 --> 00:45:10.470
We've just been adding in a little bit of white.
1009
00:45:10.470 --> 00:45:12.659
Yes
Terrific.
1010
00:45:12.659 --> 00:45:15.513
We now should have three colours.
1011
00:45:18.173 --> 00:45:20.550
And then we'll have a little bit left again
1012
00:45:20.550 --> 00:45:22.730
and we're mixing up four different values
1013
00:45:22.730 --> 00:45:24.880
but that's not exhaustive.
1014
00:45:24.880 --> 00:45:28.650
You can, you know, if you think there's an infinite
1015
00:45:28.650 --> 00:45:30.840
number of values between the four that we are mixing
1016
00:45:30.840 --> 00:45:33.120
and then there's also even brighter than the brightest
1017
00:45:33.120 --> 00:45:34.170
that we've mixed.
1018
00:45:34.170 --> 00:45:36.120
And then in the row underneath,
1019
00:45:36.120 --> 00:45:38.505
we're gonna mix up our darker values again.
1020
00:45:38.505 --> 00:45:41.160
So then there's even darker ones than what we're mixing.
1021
00:45:41.160 --> 00:45:44.310
So don't, again, don't feel like
1022
00:45:44.310 --> 00:45:46.623
if there's only a slight contrast
1023
00:45:46.623 --> 00:45:48.735
between two of the colours, that's okay.
1024
00:45:48.735 --> 00:45:51.540
Maybe you can make the next one even brighter again.
1025
00:45:51.540 --> 00:45:53.730
So you can see it's more about as long as you can see
1026
00:45:53.730 --> 00:45:56.760
a bit of a difference that's what's important.
1027
00:45:56.760 --> 00:45:59.497
And then I'm just adding white one last time
1028
00:45:59.497 --> 00:46:01.413
to create the fourth colour.
1029
00:46:02.760 --> 00:46:04.920
Is it roughly the same amount of white each time
1030
00:46:04.920 --> 00:46:06.780
or as you say, it's just, yes, it is, okay.
1031
00:46:06.780 --> 00:46:10.380
Yeah, so add a pin size.
1032
00:46:10.380 --> 00:46:13.341
I find white is probably the colour that you use the most of,
1033
00:46:13.341 --> 00:46:17.296
because you're always adding a little bit more.
1034
00:46:17.296 --> 00:46:21.060
Some people like to use a mixing white, like zinc white
1035
00:46:21.060 --> 00:46:22.563
instead of titanium white.
1036
00:46:24.073 --> 00:46:26.850
For teaching, especially for teaching something
1037
00:46:26.850 --> 00:46:28.140
like mixing skin tones.
1038
00:46:28.140 --> 00:46:30.030
I like to use titanium white
1039
00:46:30.030 --> 00:46:34.650
because it's quite pigmented and opaque.
1040
00:46:34.650 --> 00:46:36.890
So because you do use so much of it,
1041
00:46:36.890 --> 00:46:39.610
it's a good white to work with
1042
00:46:41.759 --> 00:46:45.600
but there's a lot of debates about different whites.
1043
00:46:45.600 --> 00:46:50.600
Okay, so now I have those four different values.
1044
00:46:51.132 --> 00:46:53.190
And at this point doesn't,
1045
00:46:53.190 --> 00:46:55.650
if you're a little bit behind that's okay,
1046
00:46:55.650 --> 00:46:57.600
because we're gonna then spend about five minutes
1047
00:46:57.600 --> 00:47:00.030
just painting these into the squares.
1048
00:47:00.030 --> 00:47:03.025
And if you want to, you can also write some notes
1049
00:47:03.025 --> 00:47:05.382
in that longer rectangle that we have
1050
00:47:05.382 --> 00:47:08.310
to just remind you of the process
1051
00:47:08.310 --> 00:47:10.413
that you took to get to that point.
1052
00:47:12.330 --> 00:47:17.330
So at this point as well, I'm gonna crack open my medium.
1053
00:47:17.490 --> 00:47:19.590
So if you're working with acrylic,
1054
00:47:19.590 --> 00:47:21.360
then you can just use water for this.
1055
00:47:21.360 --> 00:47:23.018
But if you're working with oils,
1056
00:47:23.018 --> 00:47:26.783
you can't use water to dilute down the paint.
1057
00:47:26.783 --> 00:47:30.559
So it's important to use like a number one medium,
1058
00:47:30.559 --> 00:47:34.020
which I use, I buy, I get mine from Art Spectrum.
1059
00:47:34.020 --> 00:47:37.350
I find it's just a good affordable,
1060
00:47:37.350 --> 00:47:39.900
but good quality medium.
1061
00:47:39.900 --> 00:47:43.260
And it's good to use because it serves the paint.
1062
00:47:43.260 --> 00:47:47.280
It also speeds drying and it helps it go further.
1063
00:47:47.280 --> 00:47:48.113
But it also,
1064
00:47:48.113 --> 00:47:50.724
because we're painting these nice little neat squares,
1065
00:47:50.724 --> 00:47:54.540
it's gonna help us get into those, all those little ridges.
1066
00:47:54.540 --> 00:47:59.070
So I dip into my medium first, just a little bit
1067
00:47:59.070 --> 00:48:00.633
and then pick up some paint.
1068
00:48:02.010 --> 00:48:04.320
And I'm just gonna go through each of those four squares
1069
00:48:04.320 --> 00:48:05.253
and fill those in.
1070
00:48:16.238 --> 00:48:20.130
And at that point I rather than then dipping into
1071
00:48:20.130 --> 00:48:23.550
the next value, it's quite common to do that,
1072
00:48:23.550 --> 00:48:26.304
but then that's when you will find that there's no contrast
1073
00:48:26.304 --> 00:48:29.790
because there's still quite a lot of paint left on my brush.
1074
00:48:29.790 --> 00:48:32.585
So I just take my Chuck's cloth and wipe it.
1075
00:48:32.585 --> 00:48:35.460
It doesn't have to be perfectly clean,
1076
00:48:35.460 --> 00:48:37.010
but just to get the excess off.
1077
00:49:11.110 --> 00:49:14.563
Zoe's wondering about the mixing mediums for oils.
1078
00:49:14.563 --> 00:49:17.989
She has refined Linseed oil and odourless solvent.
1079
00:49:17.989 --> 00:49:19.200
And she was just wondering
1080
00:49:19.200 --> 00:49:21.153
which one of those two, she should use.
1081
00:49:22.650 --> 00:49:24.633
Probably the Linseed oil.
1082
00:49:26.501 --> 00:49:30.060
I personally, I don't know an awful lot about mediums.
1083
00:49:30.060 --> 00:49:32.280
I kind of found the one that I like
1084
00:49:32.280 --> 00:49:33.930
and I've used it and stuck with it,
1085
00:49:33.930 --> 00:49:36.660
but I do know that the solvent would probably
1086
00:49:36.660 --> 00:49:40.680
be more from cleaning the brushes at the end of the day.
1087
00:49:40.680 --> 00:49:45.060
So that's what, so I do have that odourless solvent
1088
00:49:45.060 --> 00:49:47.657
and I use that to clean my brushes rather than to dilute
1089
00:49:47.657 --> 00:49:49.975
but you could use either,
1090
00:49:49.975 --> 00:49:53.943
but the linseed oil probably will work better,
1091
00:49:55.170 --> 00:49:56.820
but you can also just try out both
1092
00:49:56.820 --> 00:49:58.173
and see what works for you.
1093
00:50:01.069 --> 00:50:02.310
So I've got, okay.
1094
00:50:02.310 --> 00:50:03.390
Chrissy is wondering about
1095
00:50:03.390 --> 00:50:04.620
hers looking quite orange,
1096
00:50:04.620 --> 00:50:08.190
whereas on the screen, yours looks a lot more brown.
1097
00:50:08.190 --> 00:50:11.760
If it's looking more orange, add a little bit more blue.
1098
00:50:11.760 --> 00:50:13.838
But remember just a teeny tiny little bit,
1099
00:50:13.838 --> 00:50:15.720
little bit as you go.
1100
00:50:15.720 --> 00:50:19.500
So it could also be the camera
1101
00:50:19.500 --> 00:50:20.850
and the translation of that as well.
1102
00:50:20.850 --> 00:50:24.300
In person I can definitely see that mine is orange.
1103
00:50:24.300 --> 00:50:26.334
It's definitely got that,
1104
00:50:26.334 --> 00:50:30.658
that tint towards that kind of end of this, the colour wheel,
1105
00:50:30.658 --> 00:50:33.561
rather than being more towards pink, for example.
1106
00:50:33.561 --> 00:50:37.320
But it's not like this high saturation orange,
1107
00:50:37.320 --> 00:50:39.689
it's still quite a natural, more of a skin tone.
1108
00:50:39.689 --> 00:50:42.799
So if it is feeling quite saturated, it probably needs
1109
00:50:42.799 --> 00:50:45.303
more blue, but not much more.
1110
00:50:48.106 --> 00:50:51.730
So this is our cool orange
1111
00:50:55.380 --> 00:50:56.553
mid to light.
1112
00:51:00.680 --> 00:51:02.760
So I'm wondering if I should move on to the next one
1113
00:51:02.760 --> 00:51:04.600
or stick with this (indistinct).
1114
00:51:04.600 --> 00:51:06.780
Maybe we can get a show of hands
1115
00:51:06.780 --> 00:51:08.160
from the people who've been kind enough
1116
00:51:08.160 --> 00:51:09.840
to leave their cameras on.
1117
00:51:09.840 --> 00:51:11.100
If people are ready to move on,
1118
00:51:11.100 --> 00:51:13.500
can we get a thumbs up from you please?
1119
00:51:13.500 --> 00:51:16.723
Yes, oh, somebody's running behind.
1120
00:51:16.723 --> 00:51:18.744
Never fear, we will have this,
1121
00:51:18.744 --> 00:51:21.060
this will be up live on Facebook
1122
00:51:21.060 --> 00:51:22.530
and the recording will stay up there.
1123
00:51:22.530 --> 00:51:24.420
We're also gonna work to get it up on our website
1124
00:51:24.420 --> 00:51:25.350
as soon as possible.
1125
00:51:25.350 --> 00:51:28.350
So if you do get a little bit lost throughout the process,
1126
00:51:28.350 --> 00:51:30.777
you'll be able to go back and re-listen over it.
1127
00:51:30.777 --> 00:51:33.720
I certainly I'm gonna have to listen over it again
1128
00:51:33.720 --> 00:51:35.810
because there's so much information that I've,
1129
00:51:35.810 --> 00:51:38.209
I won't absorb all under one sitting.
1130
00:51:38.209 --> 00:51:40.590
But I think it looks as though the majority of people
1131
00:51:40.590 --> 00:51:43.920
are happy to start to move on to the next bit.
1132
00:51:43.920 --> 00:51:44.760
Okay, great.
1133
00:51:44.760 --> 00:51:47.370
It's always this first row and the next row
1134
00:51:47.370 --> 00:51:50.391
that takes the longest because you're learning the,
1135
00:51:50.391 --> 00:51:53.790
I guess the quantities for the first time,
1136
00:51:53.790 --> 00:51:55.743
the next few rows goes a bit quicker
1137
00:51:55.743 --> 00:51:58.432
but if you're still mixing,
1138
00:51:58.432 --> 00:52:03.030
I'll just at least start speaking through the next row.
1139
00:52:03.030 --> 00:52:04.475
Or maybe if you could recap the notes too.
1140
00:52:04.475 --> 00:52:06.175
Sorry, just for the people who may not.
1141
00:52:06.175 --> 00:52:07.064
For the first row?
1142
00:52:07.064 --> 00:52:07.897
Yeah.
1143
00:52:07.897 --> 00:52:12.510
Yeah, so that was the three primary colours
1144
00:52:12.510 --> 00:52:14.880
that we're working with for the entire grid,
1145
00:52:14.880 --> 00:52:18.151
which is lemon yellow, alizarin crimson and cobalt blue.
1146
00:52:18.151 --> 00:52:20.460
But because it's more orange,
1147
00:52:20.460 --> 00:52:22.056
we're working with more lemon yellow.
1148
00:52:22.056 --> 00:52:25.699
So we're mixing some red into that to create
1149
00:52:25.699 --> 00:52:29.195
a vivid, more yellowy orange.
1150
00:52:29.195 --> 00:52:33.390
Then at a hint of cobalt blue, which bumps down the chroma
1151
00:52:33.390 --> 00:52:35.416
making it a little bit more brown.
1152
00:52:35.416 --> 00:52:39.720
Then makes our colour number one, we save some of that.
1153
00:52:39.720 --> 00:52:41.610
And then we add white progressively
1154
00:52:41.610 --> 00:52:46.440
to get the next three colours and that more orangey yellowy
1155
00:52:46.440 --> 00:52:50.190
cool colour is really good for forehead, jaw bones,
1156
00:52:50.190 --> 00:52:53.130
cheek bones parts of the face that are being hit by light
1157
00:52:53.130 --> 00:52:56.430
that are quite kind of with bone close to the skin.
1158
00:52:56.430 --> 00:52:58.031
Great, thank you.
1159
00:52:58.031 --> 00:52:59.700
And then the next row we are going,
1160
00:52:59.700 --> 00:53:04.290
we're kind of flipping, instead of going from dark to light,
1161
00:53:04.290 --> 00:53:07.350
we're going from mid tone to dark now
1162
00:53:07.350 --> 00:53:09.750
because we are rather than going progressively lighter,
1163
00:53:09.750 --> 00:53:11.598
we're going progressively darker
1164
00:53:11.598 --> 00:53:14.520
and the process is the same at the start.
1165
00:53:14.520 --> 00:53:19.491
We're gonna mix up a kind of orangey,
1166
00:53:19.491 --> 00:53:23.190
an orangey mid tone to begin with,
1167
00:53:23.190 --> 00:53:25.591
but we still want it to be slightly darker
1168
00:53:25.591 --> 00:53:28.197
than colour number one from before.
1169
00:53:28.197 --> 00:53:30.450
So it's a bit strange.
1170
00:53:30.450 --> 00:53:32.672
It's gonna be still orange,
1171
00:53:32.672 --> 00:53:35.580
but it's going to be slightly darker orange.
1172
00:53:35.580 --> 00:53:37.290
So we're gonna need a bit more red.
1173
00:53:37.290 --> 00:53:39.720
So I'll speak through how that works.
1174
00:53:39.720 --> 00:53:42.300
This is really good for more deeper skin tones
1175
00:53:42.300 --> 00:53:43.710
or shadows as well.
1176
00:53:43.710 --> 00:53:46.710
So if you can think back to earlier on in the slide
1177
00:53:46.710 --> 00:53:50.430
where I isolated all those colours from the reference photo
1178
00:53:50.430 --> 00:53:54.690
that we're working with, even though this girl has,
1179
00:53:54.690 --> 00:53:56.730
she doesn't have super dark skin
1180
00:53:56.730 --> 00:53:58.860
because half of her face is in shadow.
1181
00:53:58.860 --> 00:54:01.470
We still need to mix up some darker valleys
1182
00:54:01.470 --> 00:54:03.900
for those parts of her face.
1183
00:54:03.900 --> 00:54:06.801
So we are working with the same three colours.
1184
00:54:06.801 --> 00:54:09.843
So I'm gonna start with lemon yellow again.
1185
00:54:11.496 --> 00:54:14.880
And I'm gonna take the same amount of lemon yellow
1186
00:54:14.880 --> 00:54:18.121
as I took last time when I was mixing the first
1187
00:54:18.121 --> 00:54:21.520
four colours up, place that down
1188
00:54:23.326 --> 00:54:26.610
and add approximately the same amount,
1189
00:54:26.610 --> 00:54:29.913
if not slightly more red as last time.
1190
00:54:47.430 --> 00:54:49.050
So it's still an orange,
1191
00:54:49.050 --> 00:54:51.310
it's still definitely more orange than red
1192
00:54:53.320 --> 00:54:56.670
but because we're going more into the darker valleys now
1193
00:54:56.670 --> 00:55:01.140
it would, I've added a touch more red than last time
1194
00:55:01.140 --> 00:55:03.063
just to make it a little bit darker.
1195
00:55:05.160 --> 00:55:08.823
The process here is really a little bit different.
1196
00:55:10.290 --> 00:55:12.180
As I was saying before, it's not just as simple
1197
00:55:12.180 --> 00:55:14.430
as adding one single colour to make it darker.
1198
00:55:14.430 --> 00:55:17.985
We're almost going to be adding purple
1199
00:55:17.985 --> 00:55:21.420
by adding more red and blue to darken
1200
00:55:21.420 --> 00:55:23.100
and then adding some burnt amber
1201
00:55:23.100 --> 00:55:25.470
as well to make it darker again.
1202
00:55:25.470 --> 00:55:28.320
So at this stage, I've just got two colours in here.
1203
00:55:28.320 --> 00:55:31.620
I've got lemon yellow and a bit more alizarin
1204
00:55:31.620 --> 00:55:33.599
than last time but not an awful lot.
1205
00:55:33.599 --> 00:55:37.230
Now I'm gonna add my blue, same as last time,
1206
00:55:37.230 --> 00:55:38.640
a little piece or not pinhead size amount.
1207
00:55:38.640 --> 00:55:40.860
Pin head size yeah.
1208
00:55:40.860 --> 00:55:42.023
Mix that in.
1209
00:55:58.980 --> 00:56:03.824
Okay, I'm gonna add a touch, more red
1210
00:56:03.824 --> 00:56:06.780
and a touch more blue just for me personally,
1211
00:56:06.780 --> 00:56:09.450
yours might be fine but I just want mine to be
1212
00:56:09.450 --> 00:56:13.173
slightly darker than my starting colour for my first row.
1213
00:56:15.840 --> 00:56:19.020
Okay, perfect so this colour that I have now,
1214
00:56:19.020 --> 00:56:20.880
it's still just those three colours.
1215
00:56:20.880 --> 00:56:23.700
It's just yellow, red and blue
1216
00:56:23.700 --> 00:56:25.380
but slightly different quantities.
1217
00:56:25.380 --> 00:56:28.800
So this time still far more yellow
1218
00:56:28.800 --> 00:56:30.390
than any of the other colours, but we've got
1219
00:56:30.390 --> 00:56:32.880
a touch more red and a touch more blue than before,
1220
00:56:32.880 --> 00:56:36.030
and that's given us a cool orange
1221
00:56:36.030 --> 00:56:38.164
but it's now a darker mid tone.
1222
00:56:38.164 --> 00:56:41.670
So same as before, I'm going to take half
1223
00:56:41.670 --> 00:56:42.870
and then pop it to the side.
1224
00:56:42.870 --> 00:56:47.870
So I'm kind of my kind of arsenal of colours is increasing.
1225
00:56:48.900 --> 00:56:51.390
I've now got five colours that I've mixed up.
1226
00:56:51.390 --> 00:56:52.800
Now with what we've got left
1227
00:56:52.800 --> 00:56:54.600
I'm not gonna just add white to this
1228
00:56:54.600 --> 00:56:57.569
or brown to darken it.
1229
00:56:57.569 --> 00:57:01.980
I'm gonna add basically purple to it.
1230
00:57:01.980 --> 00:57:05.760
And the purple comes in for just the next colour.
1231
00:57:05.760 --> 00:57:09.180
So the one we just mixed is gonna be colour number one
1232
00:57:09.180 --> 00:57:10.410
in row number two.
1233
00:57:10.410 --> 00:57:12.651
For colour number two in row number two,
1234
00:57:12.651 --> 00:57:15.540
I'm gonna add just a bit more red again
1235
00:57:15.540 --> 00:57:16.470
and just a bit more blue.
1236
00:57:16.470 --> 00:57:21.303
So basically this, a pin size head amount of each again.
1237
00:57:22.518 --> 00:57:26.010
We're basically tinting it a little bit more purplely
1238
00:57:26.010 --> 00:57:28.260
but because it's still so heavy on the yellow,
1239
00:57:28.260 --> 00:57:30.663
it's gonna stay more brown as opposed to purple.
1240
00:57:33.675 --> 00:57:36.447
And I'm just barely touching into my paint to pick up
1241
00:57:36.447 --> 00:57:40.863
a little bit more each time to see how much I need.
1242
00:57:48.970 --> 00:57:52.350
And I tend to find that, you know,
1243
00:57:52.350 --> 00:57:55.420
there's, when it comes to darker skin tones
1244
00:57:57.013 --> 00:57:59.943
the undertone is really important.
1245
00:58:02.070 --> 00:58:05.580
So I find there's not an awful lot of contrast
1246
00:58:05.580 --> 00:58:08.100
when it starts getting really, really dark.
1247
00:58:08.100 --> 00:58:10.800
There's not an awful lot of change in terms
1248
00:58:10.800 --> 00:58:12.570
of what's actually darker or lighter,
1249
00:58:12.570 --> 00:58:14.760
but the undertones are changing a little bit more.
1250
00:58:14.760 --> 00:58:16.920
So you might have a dark brown
1251
00:58:16.920 --> 00:58:20.190
or a black that is a bit more blue undertone
1252
00:58:20.190 --> 00:58:21.777
and one that's a bit more red undertone
1253
00:58:21.777 --> 00:58:25.440
and they might look similar darkness
1254
00:58:25.440 --> 00:58:28.530
or they might, one might look much brighter than the other,
1255
00:58:28.530 --> 00:58:30.300
but they are actually the same value.
1256
00:58:30.300 --> 00:58:32.520
And that's just because they've got different undertones
1257
00:58:32.520 --> 00:58:35.695
to them, but those are really important.
1258
00:58:35.695 --> 00:58:40.695
Okay, so now I've got a colour number,
1259
00:58:40.767 --> 00:58:43.440
colour number two in row number two.
1260
00:58:43.440 --> 00:58:46.260
And I've created that just by adding progressively
1261
00:58:46.260 --> 00:58:48.780
a little bit more red and a little bit more blue,
1262
00:58:48.780 --> 00:58:51.420
and I've still got a little bit left.
1263
00:58:51.420 --> 00:58:52.500
That actually wasn't as scary
1264
00:58:52.500 --> 00:58:53.495
as I thought it was gonna be.
1265
00:58:53.495 --> 00:58:55.140
(Gill laughing)
Oh, that's good.
1266
00:58:55.140 --> 00:58:55.973
It's a lot of information.
1267
00:58:55.973 --> 00:58:58.100
Some reason adding white seems much easier to me,
1268
00:58:58.100 --> 00:59:00.960
that seemed to be relatively simple?
1269
00:59:00.960 --> 00:59:04.476
Yeah, it's no, I think it's,
1270
00:59:04.476 --> 00:59:08.340
it's important not to just get lazy and just add black
1271
00:59:08.340 --> 00:59:10.650
or brown to dark in something
1272
00:59:10.650 --> 00:59:12.870
because it does make it much more luminous.
1273
00:59:12.870 --> 00:59:17.130
So if you can know the steps than it it looks
1274
00:59:17.130 --> 00:59:21.630
and it has that nicer effect but it's not super daunting.
1275
00:59:21.630 --> 00:59:25.410
So I've got a little bit left for the next two colours,
1276
00:59:25.410 --> 00:59:28.830
the final two colours in the dark part of the scale.
1277
00:59:28.830 --> 00:59:30.668
So colour number three and colour number four.
1278
00:59:30.668 --> 00:59:32.867
This is when we're gonna add a little bit of the brown,
1279
00:59:32.867 --> 00:59:36.150
because I find personally by this point,
1280
00:59:36.150 --> 00:59:39.355
if I'm just adding purple, so just adding red and blue,
1281
00:59:39.355 --> 00:59:41.610
it's just gonna start to become purple
1282
00:59:41.610 --> 00:59:43.935
because we are losing the yellow now.
1283
00:59:43.935 --> 00:59:48.591
So rather, in order to keep that cool yellow
1284
00:59:48.591 --> 00:59:52.535
to keep that yellow end of the valley or the hue range,
1285
00:59:52.535 --> 00:59:54.540
we wanna start adding brown.
1286
00:59:54.540 --> 00:59:57.990
So again, we're gonna add a touch more,
1287
00:59:57.990 --> 01:00:01.710
more red and blue again.
1288
01:00:01.710 --> 01:00:05.283
So we are gonna add a touch more purple.
1289
01:00:06.240 --> 01:00:09.990
So pinhead size again, of red and blue.
1290
01:00:09.990 --> 01:00:12.750
But in addition, now we're also gonna add a little bit
1291
01:00:12.750 --> 01:00:15.300
of the burnt umber, which is that really
1292
01:00:15.300 --> 01:00:18.182
rich, deep black, black brown almost.
1293
01:00:18.182 --> 01:00:20.460
So this isn't a black
1294
01:00:20.460 --> 01:00:22.920
but a lot of people use it as a black substitute
1295
01:00:22.920 --> 01:00:24.840
because it's so dark.
1296
01:00:24.840 --> 01:00:28.590
So a pinhead size amount of those three red blue
1297
01:00:28.590 --> 01:00:29.590
and the burnt umber.
1298
01:00:30.934 --> 01:00:32.703
And then I mix that up.
1299
01:00:42.810 --> 01:00:43.713
Great,
1300
01:00:46.800 --> 01:00:49.110
and that's a bit darker again
1301
01:00:49.110 --> 01:00:50.490
but it's still very much orange
1302
01:00:50.490 --> 01:00:52.983
as opposed to purple, which is good.
1303
01:00:57.060 --> 01:00:59.997
So I'll mix that up a little bit more.
1304
01:00:59.997 --> 01:01:03.723
And then as always, once you've mixed your colour up,
1305
01:01:05.272 --> 01:01:07.860
pile all into one nice, neat pile,
1306
01:01:07.860 --> 01:01:10.890
and then use your pallet knife to split half off
1307
01:01:10.890 --> 01:01:12.900
and pop that to the side.
1308
01:01:12.900 --> 01:01:15.360
And then we'll do that one more time again.
1309
01:01:15.360 --> 01:01:18.420
So we now to need to mix up the final colour
1310
01:01:18.420 --> 01:01:21.990
in those cool orange air like scale.
1311
01:01:21.990 --> 01:01:24.540
So this is the darkest, this is number four now
1312
01:01:24.540 --> 01:01:25.770
that we're gonna mix.
1313
01:01:25.770 --> 01:01:30.000
So I've got a tiny bit left on my mixing part of my palette.
1314
01:01:30.000 --> 01:01:32.100
Now I'm gonna do repeat that final process.
1315
01:01:32.100 --> 01:01:36.843
So a touch more red, a touch more blue,
1316
01:01:38.254 --> 01:01:40.763
and then a little bit of the burnt umber.
1317
01:01:48.867 --> 01:01:51.720
And by this point it's getting quite dark,
1318
01:01:51.720 --> 01:01:52.820
which is what we want.
1319
01:01:56.790 --> 01:02:00.086
I often like mixing up something like this as well, even,
1320
01:02:00.086 --> 01:02:03.485
you know, these values and hues
1321
01:02:03.485 --> 01:02:05.880
exist in all different skin tones,
1322
01:02:05.880 --> 01:02:08.991
whether someone has lighter or darker skin tone,
1323
01:02:08.991 --> 01:02:12.960
you might not think that it does but this could work.
1324
01:02:12.960 --> 01:02:15.000
You know, perfectly, even if it's just for the lash line,
1325
01:02:15.000 --> 01:02:16.980
for example, where the eyelashes are
1326
01:02:16.980 --> 01:02:21.270
or in the pupil or the iris of the eye.
1327
01:02:21.270 --> 01:02:24.480
So it's really important to look closely at the image
1328
01:02:24.480 --> 01:02:26.610
that you're working with and really notice
1329
01:02:26.610 --> 01:02:28.470
all of those different values.
1330
01:02:28.470 --> 01:02:30.270
So even if you're working with someone
1331
01:02:30.270 --> 01:02:32.142
with a particular skin tone,
1332
01:02:32.142 --> 01:02:35.670
they still probably have lots of contrast
1333
01:02:35.670 --> 01:02:36.873
and variation in there.
1334
01:02:40.140 --> 01:02:42.750
Okay, so that's the next four
1335
01:02:42.750 --> 01:02:44.883
for the next row, for row number two.
1336
01:02:49.450 --> 01:02:52.230
And just as I did for the first row,
1337
01:02:52.230 --> 01:02:55.290
I'm going to take my brush
1338
01:02:55.290 --> 01:02:58.140
dip into the medium and then paint those four squares in.
1339
01:03:03.350 --> 01:03:05.850
Rachel's found that her number one and two
1340
01:03:05.850 --> 01:03:08.490
in that row, the colours are quite brown already.
1341
01:03:08.490 --> 01:03:10.443
They're quite dark.
1342
01:03:12.660 --> 01:03:17.660
That's fine, as I've been saying, if they're not perfect,
1343
01:03:18.720 --> 01:03:21.120
that's absolutely fine because it's more about
1344
01:03:21.120 --> 01:03:24.360
working with the paint and understanding how it works.
1345
01:03:24.360 --> 01:03:26.641
I often find, for example, if I'm working with
1346
01:03:26.641 --> 01:03:29.990
a paint for the first time from a particular brand
1347
01:03:29.990 --> 01:03:33.210
I'm kind of getting used to the pigments
1348
01:03:33.210 --> 01:03:34.650
because some brands might have
1349
01:03:34.650 --> 01:03:36.450
stronger pigments than others.
1350
01:03:36.450 --> 01:03:39.210
So if it's not perfect, that's okay.
1351
01:03:39.210 --> 01:03:41.910
It's more about understanding how you got there.
1352
01:03:41.910 --> 01:03:46.650
So if you're finding that it's already quite black and dark,
1353
01:03:46.650 --> 01:03:49.105
then maybe scoop that up, save it
1354
01:03:49.105 --> 01:03:51.750
and paint in those two first squares,
1355
01:03:51.750 --> 01:03:55.320
and then maybe mix up a new colour for the next two squares.
1356
01:03:55.320 --> 01:03:58.443
If it's already so dark that you can't go any darker.
1357
01:03:59.640 --> 01:04:01.560
Otherwise what you could do
1358
01:04:01.560 --> 01:04:05.700
and this is something that I'll just say generally as well,
1359
01:04:05.700 --> 01:04:08.520
is if you want to, if you feel like you've got
1360
01:04:08.520 --> 01:04:11.607
as dark as you can, with those four colours together,
1361
01:04:11.607 --> 01:04:14.940
try mixing burnt amber with cobalt blue,
1362
01:04:14.940 --> 01:04:16.860
just those two colours together.
1363
01:04:16.860 --> 01:04:19.050
And then just put that in maybe by itself
1364
01:04:19.050 --> 01:04:20.730
on a square somewhere and make a little note
1365
01:04:20.730 --> 01:04:22.860
of what that is because I find that
1366
01:04:22.860 --> 01:04:25.290
that's a really fantastic black substitute.
1367
01:04:25.290 --> 01:04:27.330
It's something about those two colours.
1368
01:04:27.330 --> 01:04:29.010
They go together so nice.
1369
01:04:29.010 --> 01:04:31.800
It doesn't have to be cobalt blue either,
1370
01:04:31.800 --> 01:04:33.950
ultramarine blue works really well as well.
1371
01:04:35.288 --> 01:04:39.390
So if you've got, say two or three colours straightaway
1372
01:04:39.390 --> 01:04:40.574
that are already really dark,
1373
01:04:40.574 --> 01:04:42.750
try mixing up those two together,
1374
01:04:42.750 --> 01:04:45.600
just to have that scale, it might, it will look nice.
1375
01:04:45.600 --> 01:04:48.150
And it will also teach you about how you got there.
1376
01:05:36.060 --> 01:05:39.450
And just remember to wipe your brush in between as well.
1377
01:05:39.450 --> 01:05:41.013
So they're not contaminating.
1378
01:05:48.900 --> 01:05:51.870
Okay, so that's my four colours in there.
1379
01:05:51.870 --> 01:05:55.263
I'm gonna quickly make a note for myself of what that is,
1380
01:05:57.120 --> 01:06:00.390
and then next we're going into the pinks.
1381
01:06:00.390 --> 01:06:04.080
So because I'm working with cool pigments,
1382
01:06:04.080 --> 01:06:05.730
they're still gonna be cool,
1383
01:06:05.730 --> 01:06:07.560
but instead of being cool orange this time,
1384
01:06:07.560 --> 01:06:09.033
it's going to be cool pink.
1385
01:06:20.370 --> 01:06:23.580
So we ready to move on, cool.
1386
01:06:23.580 --> 01:06:28.140
Okay, so these colours are really good for
1387
01:06:28.140 --> 01:06:30.535
the parts of the face with more blood in the face.
1388
01:06:30.535 --> 01:06:33.390
So if we're thinking things like the lips,
1389
01:06:33.390 --> 01:06:35.430
the cheeks, the nose,
1390
01:06:35.430 --> 01:06:38.940
I also find that the ears are really good
1391
01:06:38.940 --> 01:06:42.660
for more pinky colours because for example,
1392
01:06:42.660 --> 01:06:45.300
like if the sunlight is hitting from behind the face
1393
01:06:45.300 --> 01:06:48.090
and because the cartilage in the ear is so thin,
1394
01:06:48.090 --> 01:06:50.910
you can see the, the bright red of the ear.
1395
01:06:50.910 --> 01:06:55.538
So kind of more bonier parts of the face,
1396
01:06:55.538 --> 01:06:57.819
the oranges work really well.
1397
01:06:57.819 --> 01:07:00.300
Then having more colour through the pink
1398
01:07:00.300 --> 01:07:03.030
is where you really start to see a face really glow
1399
01:07:03.030 --> 01:07:06.450
and have some nice natural luminous values
1400
01:07:06.450 --> 01:07:08.100
and hues come through.
1401
01:07:08.100 --> 01:07:11.790
So also another thing, I'm sure people have been doing it,
1402
01:07:11.790 --> 01:07:14.550
but in case you haven't, I've been using a baby wipe
1403
01:07:14.550 --> 01:07:17.273
and I've been at the very end of each row,
1404
01:07:17.273 --> 01:07:21.883
just wipe that clean, where we are mixing.
1405
01:07:21.883 --> 01:07:24.120
Even though we're working with the same colours,
1406
01:07:24.120 --> 01:07:27.060
it's still good to try and keep things tidy
1407
01:07:27.060 --> 01:07:30.240
because one little bit of contamination
1408
01:07:30.240 --> 01:07:32.880
and it can totally change the way that your,
1409
01:07:32.880 --> 01:07:34.572
your paint looks.
1410
01:07:34.572 --> 01:07:36.226
I think that might have been half my problem.
1411
01:07:36.226 --> 01:07:39.063
Pretty messy when I paint the house too.
1412
01:07:39.063 --> 01:07:41.790
I'm not usually this neat and tidy,
1413
01:07:41.790 --> 01:07:44.373
but I feel much better when I am.
1414
01:07:48.870 --> 01:07:50.970
So, because it's the same three colours,
1415
01:07:50.970 --> 01:07:53.190
the process is basically the same.
1416
01:07:53.190 --> 01:07:55.140
The only difference is the quantities again.
1417
01:07:55.140 --> 01:07:57.573
So we're still gonna start with lemon yellow,
1418
01:07:59.100 --> 01:08:02.160
still a generous amount because lemon yellow's quite weak,
1419
01:08:02.160 --> 01:08:04.860
but this time the starting orange that we wanna get
1420
01:08:04.860 --> 01:08:08.520
is gonna be much more of a red than an orange.
1421
01:08:08.520 --> 01:08:12.544
So this time we can add a little bit more,
1422
01:08:12.544 --> 01:08:14.850
alizarin Crimson than we did last time,
1423
01:08:14.850 --> 01:08:18.630
but I would suggest if you are not familiar
1424
01:08:18.630 --> 01:08:20.940
with the paints that you're working with, for example,
1425
01:08:20.940 --> 01:08:24.265
just add the same amount as you did for the first two rows.
1426
01:08:24.265 --> 01:08:26.310
And then add a little bit more again,
1427
01:08:26.310 --> 01:08:30.390
incrementally until you get to a nice, more ready orange,
1428
01:08:30.390 --> 01:08:32.760
as opposed to yellowy orange.
1429
01:08:32.760 --> 01:08:33.660
That's what I'm gonna do.
1430
01:08:33.660 --> 01:08:38.163
So I've added the same amount of red as last time.
1431
01:08:39.420 --> 01:08:41.853
It's getting me to that nice yellow orange.
1432
01:08:42.882 --> 01:08:45.540
And then I'm gonna add a little bit more again
1433
01:08:45.540 --> 01:08:47.913
and you'll see how it changes it.
1434
01:08:56.580 --> 01:08:59.927
Do you always mix on tiles, Melissa?
1435
01:08:59.927 --> 01:09:03.120
Yeah, this is my preferred method.
1436
01:09:03.120 --> 01:09:04.950
I used to,
1437
01:09:04.950 --> 01:09:05.783
actually it's something
1438
01:09:05.783 --> 01:09:07.620
that goes all the way back to high school.
1439
01:09:07.620 --> 01:09:09.480
I think it was just the school bought them all
1440
01:09:09.480 --> 01:09:11.460
because loads of students and it's cheap
1441
01:09:11.460 --> 01:09:13.500
and it's more practical.
1442
01:09:13.500 --> 01:09:16.650
And then I found, you know, you go to an art store
1443
01:09:16.650 --> 01:09:19.440
and it's 20 or $30 for a plastic pallet
1444
01:09:19.440 --> 01:09:22.170
and they're a little bit wobbly and not super durable
1445
01:09:22.170 --> 01:09:23.280
and they're so expensive.
1446
01:09:23.280 --> 01:09:26.550
And the way I get through pallets, they just,
1447
01:09:26.550 --> 01:09:29.250
if I get lazy and don't clean it,
1448
01:09:29.250 --> 01:09:31.860
it's basically, it's hard to clean it.
1449
01:09:31.860 --> 01:09:35.940
So I go to Bunnings or any kind of hardware store,
1450
01:09:35.940 --> 01:09:39.630
buy a big box of 20 tiles for $20.
1451
01:09:39.630 --> 01:09:41.760
And I've only ever had to buy that once
1452
01:09:41.760 --> 01:09:44.040
and they've lasted me years.
1453
01:09:44.040 --> 01:09:46.560
So as long as it's non porous,
1454
01:09:46.560 --> 01:09:49.290
it's I find something that's a little bit more glossy
1455
01:09:49.290 --> 01:09:51.180
even a colour that isn't white is great
1456
01:09:51.180 --> 01:09:52.538
'cause you've got contrast.
1457
01:09:52.538 --> 01:09:55.500
And yeah, they're much cheaper.
1458
01:09:55.500 --> 01:09:57.390
They're more durable, they're not plastic.
1459
01:09:57.390 --> 01:10:01.386
So I like tiles or glass, works really well as well.
1460
01:10:01.386 --> 01:10:03.420
So that's starting orange.
1461
01:10:03.420 --> 01:10:08.420
It's much more of a ready pink as opposed to a yellow
1462
01:10:08.833 --> 01:10:10.803
but there's still no blue in it yet.
1463
01:10:12.090 --> 01:10:14.250
It's still far too saturated.
1464
01:10:14.250 --> 01:10:18.813
So I'm going to add my little pin size amount of blue again.
1465
01:10:20.940 --> 01:10:24.180
Julian uses the old glass shelves
1466
01:10:24.180 --> 01:10:26.460
out of fridges and paints some grey on the back.
1467
01:10:26.460 --> 01:10:27.293
Oh great.
1468
01:10:27.293 --> 01:10:28.126
So that's pretty great.
1469
01:10:28.126 --> 01:10:28.959
That's actually a really good idea.
1470
01:10:28.959 --> 01:10:29.933
A good tip.
1471
01:10:32.380 --> 01:10:35.790
Yeah, I think I've used quite a lot of my parents'
1472
01:10:35.790 --> 01:10:38.010
old tiles out of the garage.
1473
01:10:38.010 --> 01:10:40.109
Hopefully they're not looking for them.
1474
01:10:40.109 --> 01:10:42.030
Probably now.
1475
01:10:42.030 --> 01:10:43.653
But glass is great as well.
1476
01:10:45.888 --> 01:10:49.910
Okay, so I've added those three colours together again,
1477
01:10:49.910 --> 01:10:53.220
the only difference this time is my quantity of red
1478
01:10:53.220 --> 01:10:55.794
is a little bit more so it's more of a a pinky red
1479
01:10:55.794 --> 01:10:59.340
as opposed to a or pinky red orange
1480
01:10:59.340 --> 01:11:01.050
as opposed to a yellow orange.
1481
01:11:01.050 --> 01:11:03.513
So that's my number one in row three.
1482
01:11:06.640 --> 01:11:09.840
And as you can see, if you look at the,
1483
01:11:09.840 --> 01:11:12.690
oh yeah, we've got the, the camera and the tile.
1484
01:11:12.690 --> 01:11:14.520
Some these are looking quite similar,
1485
01:11:14.520 --> 01:11:17.790
especially kind of around here
1486
01:11:17.790 --> 01:11:20.310
but the undertones are different
1487
01:11:20.310 --> 01:11:22.331
and that's, what's important.
1488
01:11:22.331 --> 01:11:24.510
So when I add white to this, you'll notice
1489
01:11:24.510 --> 01:11:26.648
it'll suddenly start getting,
1490
01:11:26.648 --> 01:11:28.620
the pink undertones will come through
1491
01:11:28.620 --> 01:11:30.254
because it's got more red in it.
1492
01:11:30.254 --> 01:11:33.510
So same processes are very first row.
1493
01:11:33.510 --> 01:11:36.474
We're gonna add white progressively.
1494
01:11:36.474 --> 01:11:40.593
So I'll take little pea size amount of white again,
1495
01:11:41.460 --> 01:11:42.293
mix that in.
1496
01:11:50.068 --> 01:11:54.735
And as you can see, it's much more pink than previously.
1497
01:11:56.460 --> 01:11:58.360
The first row is much more orange,
1498
01:11:58.360 --> 01:12:00.660
but this is much more pink.
1499
01:12:00.660 --> 01:12:02.970
Hopefully that's translating on the camera.
1500
01:12:02.970 --> 01:12:05.190
I'm actually going to add a touch more red as well
1501
01:12:05.190 --> 01:12:08.903
and feel free to do this.
1502
01:12:08.903 --> 01:12:12.150
Just you're constantly adjusting and noticing,
1503
01:12:12.150 --> 01:12:14.310
you know, as you add other colours
1504
01:12:14.310 --> 01:12:16.470
you might find that you need to balance things out
1505
01:12:16.470 --> 01:12:18.180
by adding something else.
1506
01:12:18.180 --> 01:12:19.710
So there we go.
1507
01:12:19.710 --> 01:12:24.210
That's a really nice pinky rose kind of colour.
1508
01:12:24.210 --> 01:12:27.003
That would work really nice on cheeks or on lips.
1509
01:12:28.552 --> 01:12:31.980
I'm gonna take half of that and pop that to the side.
1510
01:12:31.980 --> 01:12:34.500
Abby, we had a little bit of the cobalt blue
1511
01:12:34.500 --> 01:12:35.867
in there too, didn't we?
1512
01:12:35.867 --> 01:12:40.440
Yes, so the starting point for all of the colours
1513
01:12:40.440 --> 01:12:42.207
that we're mixing is the same process.
1514
01:12:42.207 --> 01:12:45.762
Lemon yellow, then red, then a touch of blue.
1515
01:12:45.762 --> 01:12:49.680
But the quantities for this row is a little bit different
1516
01:12:49.680 --> 01:12:51.450
because we're adding a bit more red,
1517
01:12:51.450 --> 01:12:53.250
which is what makes it more of a cool pink
1518
01:12:53.250 --> 01:12:55.233
as opposed to a cool orange.
1519
01:13:05.610 --> 01:13:08.340
Okay, so I've just mixed up my third colour
1520
01:13:08.340 --> 01:13:11.193
and I'm gonna add white one final time.
1521
01:13:13.050 --> 01:13:16.170
Actually be quite generous with the white for the last colour
1522
01:13:16.170 --> 01:13:18.600
because I often find
1523
01:13:18.600 --> 01:13:21.690
that I never make something bright enough.
1524
01:13:21.690 --> 01:13:23.310
And then when I actually come to painting,
1525
01:13:23.310 --> 01:13:26.010
I need to just dip directly into my white.
1526
01:13:26.010 --> 01:13:30.090
So sometimes the real bright highlights in a face
1527
01:13:30.090 --> 01:13:30.990
they'll look white.
1528
01:13:30.990 --> 01:13:34.080
They're not white, they're still a skin tone with,
1529
01:13:34.080 --> 01:13:36.900
it's just very, very bright but it's not pure white.
1530
01:13:36.900 --> 01:13:41.460
But if you think if you're painting on a white pallet
1531
01:13:41.460 --> 01:13:46.460
or canvas, what looks bright is still very dark
1532
01:13:47.820 --> 01:13:49.200
compared to the white of the background.
1533
01:13:49.200 --> 01:13:52.980
So try and maybe mix up something that is almost white,
1534
01:13:52.980 --> 01:13:55.620
but just tinted slightly skin tone.
1535
01:13:55.620 --> 01:13:56.730
So that's what I've got there.
1536
01:13:56.730 --> 01:13:58.677
I've got my next four colours
1537
01:13:58.677 --> 01:14:01.683
and these are now more pink toned.
1538
01:14:03.720 --> 01:14:05.520
I'm gonna wipe my palette clean,
1539
01:14:05.520 --> 01:14:08.700
not the colours I've saved the part of the palette
1540
01:14:08.700 --> 01:14:12.990
that I'm mixing and then wipe my brush.
1541
01:14:16.320 --> 01:14:19.920
Just be aware because we've just mixed up some dark colours
1542
01:14:19.920 --> 01:14:22.385
and now we're going into lighter colours.
1543
01:14:22.385 --> 01:14:25.560
Make sure your brush now is quite clean.
1544
01:14:25.560 --> 01:14:28.260
So I'm actually gonna grab some solvent.
1545
01:14:28.260 --> 01:14:32.190
I don't often do this, but I will while it's right here.
1546
01:14:32.190 --> 01:14:33.740
And just quickly dip into that,
1547
01:14:34.680 --> 01:14:37.230
just to get any of that dark excess off
1548
01:14:37.230 --> 01:14:39.430
because we're going into lighter values now.
1549
01:14:40.740 --> 01:14:42.590
And then I'll dip back into my medium
1550
01:14:43.914 --> 01:14:46.083
and paint those next four squares in.
1551
01:15:15.900 --> 01:15:18.810
It's really good to do this practise
1552
01:15:18.810 --> 01:15:21.750
before we get into the painting as well,
1553
01:15:21.750 --> 01:15:25.020
because even just painting these squares is a good practise
1554
01:15:25.020 --> 01:15:27.360
if you're not familiar with oil painting
1555
01:15:27.360 --> 01:15:29.860
with how the medium works with
1556
01:15:31.277 --> 01:15:33.813
the brush and the painting and the oils.
1557
01:15:35.190 --> 01:15:39.150
I find that if you kind of load your brush up
1558
01:15:39.150 --> 01:15:41.253
with the paint and medium,
1559
01:15:42.360 --> 01:15:45.390
you'll find that it's much easier to get
1560
01:15:45.390 --> 01:15:48.363
the nice, neat edges of this square.
1561
01:15:49.410 --> 01:15:51.180
And it's also going to be sucked up
1562
01:15:51.180 --> 01:15:53.640
by the fabric of the canvas.
1563
01:15:53.640 --> 01:15:55.890
If you're finding that where as you're painting
1564
01:15:55.890 --> 01:15:57.948
these squares in that there's a lot of texture
1565
01:15:57.948 --> 01:16:00.630
of the canvas that's still poking through.
1566
01:16:00.630 --> 01:16:02.892
It's probably because you don't have enough medium.
1567
01:16:02.892 --> 01:16:05.220
So this is a good exercise as well
1568
01:16:05.220 --> 01:16:08.313
to practise those quantities and the ratios.
1569
01:16:19.990 --> 01:16:21.963
And that's that next row.
1570
01:16:23.460 --> 01:16:25.360
I quickly make a note of what that is.
1571
01:16:30.450 --> 01:16:31.560
Jesse just asked
1572
01:16:31.560 --> 01:16:32.965
what the medium is that you are using.
1573
01:16:32.965 --> 01:16:35.130
It was medium one, wasn't it?
1574
01:16:35.130 --> 01:16:39.180
Yes, so I use number one Medium by Art Spectrum.
1575
01:16:39.180 --> 01:16:42.453
So it's just a thin medium.
1576
01:16:44.306 --> 01:16:46.350
It's one that I like to use,
1577
01:16:46.350 --> 01:16:50.493
but any kind of thinner medium works well.
1578
01:16:51.690 --> 01:16:52.523
Okay.
1579
01:16:54.150 --> 01:16:59.150
Now we'll move onto the pink tones but for mid to dark,
1580
01:16:59.190 --> 01:17:01.620
if you're still filling that in, don't worry, we'll,
1581
01:17:01.620 --> 01:17:03.578
I'll spend just a couple minutes talking through
1582
01:17:03.578 --> 01:17:07.203
the next row while everyone catches up, if you need to.
1583
01:17:07.203 --> 01:17:10.388
But same process again.
1584
01:17:10.388 --> 01:17:14.951
So this is now basically a replication of our row two,
1585
01:17:14.951 --> 01:17:18.240
but instead of being cool orange, mid to dark,
1586
01:17:18.240 --> 01:17:19.890
it's cool pink mid to dark.
1587
01:17:19.890 --> 01:17:24.890
So this is really good for, again, lips, cheeks, nose,
1588
01:17:25.059 --> 01:17:28.140
but more for if those areas are in the shadows.
1589
01:17:28.140 --> 01:17:30.757
So you'll see when we get into the painting demo,
1590
01:17:30.757 --> 01:17:33.420
half of the face is in shadow.
1591
01:17:33.420 --> 01:17:36.240
So half of the lips, for example,
1592
01:17:36.240 --> 01:17:38.730
will be using the cool pinks
1593
01:17:38.730 --> 01:17:40.410
from the light part of this, the palette.
1594
01:17:40.410 --> 01:17:42.150
And then the other half that's more in shadow
1595
01:17:42.150 --> 01:17:45.510
will be from this darker pinks.
1596
01:17:45.510 --> 01:17:47.700
So even though some of these colours
1597
01:17:47.700 --> 01:17:49.590
that we mix up might start to look similar
1598
01:17:49.590 --> 01:17:52.860
to the cool oranges, because they're both very dark.
1599
01:17:52.860 --> 01:17:55.080
One is going to have an orangey undertone.
1600
01:17:55.080 --> 01:17:57.210
One's gonna have a pinker undertone.
1601
01:17:57.210 --> 01:18:00.660
That's why we use the pinky ones on the lips and the cheeks,
1602
01:18:00.660 --> 01:18:02.503
even though they're still in shadow.
1603
01:18:02.503 --> 01:18:05.848
That's what's, it's about having those nice subtleties,
1604
01:18:05.848 --> 01:18:09.209
which is gonna create a really nice luminous
1605
01:18:09.209 --> 01:18:11.578
and natural looking portrait.
1606
01:18:11.578 --> 01:18:13.950
So same process.
1607
01:18:13.950 --> 01:18:17.938
We're gonna start with our first three colours to mix up
1608
01:18:17.938 --> 01:18:22.113
a orange, that's a little bit more red,
1609
01:18:23.411 --> 01:18:25.770
and because we're going into the dark,
1610
01:18:25.770 --> 01:18:27.540
we want it to be slightly darker than
1611
01:18:27.540 --> 01:18:29.763
colour number one from our row number three.
1612
01:18:31.140 --> 01:18:33.160
So I'm taking yellow to start
1613
01:18:37.796 --> 01:18:40.350
and add the same amount of red,
1614
01:18:40.350 --> 01:18:45.350
if not a touch more as you did for the previous first colour.
1615
01:18:45.480 --> 01:18:48.921
So same amount of red, if not a little bit more
1616
01:18:48.921 --> 01:18:51.573
as colour number one for row number three.
1617
01:19:00.330 --> 01:19:05.330
And it should be like a nice rich red reddy orange.
1618
01:19:16.980 --> 01:19:20.130
So at the moment, I still just have two colours in,
1619
01:19:20.130 --> 01:19:23.820
but as we've been doing throughout this afternoon,
1620
01:19:23.820 --> 01:19:25.350
we're gonna add blue.
1621
01:19:25.350 --> 01:19:29.100
So the same amount of a little touch of blue
1622
01:19:29.100 --> 01:19:31.683
pinhead size, mix that up.
1623
01:19:35.151 --> 01:19:40.151
And that will be our colour number one for row number four.
1624
01:19:41.400 --> 01:19:44.580
This is going from light well,
1625
01:19:44.580 --> 01:19:49.517
mid to dark in the more pinky toned colours.
1626
01:19:52.980 --> 01:19:54.690
So once that's mixed up,
1627
01:19:54.690 --> 01:19:57.483
scoop up half and pop that to the side,
1628
01:20:00.103 --> 01:20:03.250
and now we are gonna, with what we've got left
1629
01:20:04.185 --> 01:20:06.633
we are gonna make that darker.
1630
01:20:09.030 --> 01:20:11.670
Yes, Evelyn, just a tiny pinhead bit of blue.
1631
01:20:11.670 --> 01:20:13.113
Yes, pinhead bit of blue.
1632
01:20:16.920 --> 01:20:18.915
And so, as I've been saying,
1633
01:20:18.915 --> 01:20:21.420
the process for darkening a colour,
1634
01:20:21.420 --> 01:20:23.910
it's not as simple as just adding one more colour
1635
01:20:23.910 --> 01:20:25.140
to make it darker.
1636
01:20:25.140 --> 01:20:27.840
It's not like adding white to make a colour lighter.
1637
01:20:27.840 --> 01:20:32.340
So basically the same process is what we use to make our
1638
01:20:32.340 --> 01:20:33.750
cool oranges darker.
1639
01:20:33.750 --> 01:20:36.720
We're gonna use to make these cool pinks darker.
1640
01:20:36.720 --> 01:20:39.224
So because our starting colour,
1641
01:20:39.224 --> 01:20:42.960
which is we are using the leftover colour
1642
01:20:42.960 --> 01:20:44.820
from colour number one,
1643
01:20:44.820 --> 01:20:48.136
because that has a higher ratio of red
1644
01:20:48.136 --> 01:20:51.390
than which we used for the cool oranges
1645
01:20:51.390 --> 01:20:53.700
it's still going to be more pinky undertone
1646
01:20:53.700 --> 01:20:55.023
when we make this darker.
1647
01:20:55.920 --> 01:20:58.860
But same process to make it darker we're gonna start
1648
01:20:58.860 --> 01:21:03.210
by adding a pinhead size of red
1649
01:21:03.210 --> 01:21:05.103
and a pinhead size of blue.
1650
01:21:06.731 --> 01:21:10.740
And that will be what we do for the second colour.
1651
01:21:10.740 --> 01:21:12.510
It's not until colours three and four
1652
01:21:12.510 --> 01:21:14.760
that we start adding the burnt under.
1653
01:21:14.760 --> 01:21:17.940
So first we're just making it a little bit more purple.
1654
01:21:17.940 --> 01:21:20.550
So a little bit more red and a little bit more blue,
1655
01:21:20.550 --> 01:21:24.273
added into that leftover colour, mix that up.
1656
01:21:26.827 --> 01:21:31.050
And because we've already got quite a lot of red in here
1657
01:21:31.050 --> 01:21:32.640
straight away you'll start noticing
1658
01:21:32.640 --> 01:21:34.440
that it's starting to become more purple.
1659
01:21:34.440 --> 01:21:36.282
It's a really beautiful colour.
1660
01:21:36.282 --> 01:21:39.630
It works really well if someone has lipstick on, for example
1661
01:21:39.630 --> 01:21:42.955
it's still a nice natural colour without,
1662
01:21:42.955 --> 01:21:47.010
you know, it's easy if someone's wearing a red lip
1663
01:21:47.010 --> 01:21:51.549
or kind of a maroon or purple lip to mix up a colour that is
1664
01:21:51.549 --> 01:21:54.000
purple without any yellow
1665
01:21:54.000 --> 01:21:56.130
or other skin tone colours in there
1666
01:21:56.130 --> 01:21:58.290
and it looks far too unnatural.
1667
01:21:58.290 --> 01:22:01.680
Whereas even if somebody is wearing makeup, for example,
1668
01:22:01.680 --> 01:22:04.830
it still is a natural skin tone.
1669
01:22:04.830 --> 01:22:07.860
It's just much more of a more saturated skin tone,
1670
01:22:07.860 --> 01:22:11.070
unless it's something like bright orange or bright blue
1671
01:22:11.070 --> 01:22:14.010
but something like this works beautifully for like
1672
01:22:14.010 --> 01:22:17.460
a dark red lip or if the part of the face
1673
01:22:17.460 --> 01:22:18.963
is in shadow, for example.
1674
01:22:20.160 --> 01:22:23.687
So if yours is looking more purplely or quite red,
1675
01:22:23.687 --> 01:22:25.650
that's good, that's kind of what we're going
1676
01:22:25.650 --> 01:22:26.763
for at this stage.
1677
01:22:28.046 --> 01:22:30.960
So I've mixed that up.
1678
01:22:30.960 --> 01:22:33.750
This is colour number two in row number four,
1679
01:22:33.750 --> 01:22:37.003
and I'm popping half of that onto the pallet
1680
01:22:37.003 --> 01:22:39.300
where I'm saving all of my paints
1681
01:22:39.300 --> 01:22:40.850
and I've got a little bit left.
1682
01:22:41.912 --> 01:22:43.833
And with what I've got left,
1683
01:22:45.918 --> 01:22:50.918
I'm now gonna mix up colour number three in row number four.
1684
01:22:51.120 --> 01:22:53.850
And the next step is to do the same thing as we did before.
1685
01:22:53.850 --> 01:22:55.923
We're gonna add a touch of red again,
1686
01:22:57.770 --> 01:23:02.472
and a touch of blue again but instead of stopping there,
1687
01:23:02.472 --> 01:23:05.520
we're gonna add a little bit of blue as well,
1688
01:23:05.520 --> 01:23:07.893
sorry, a little bit of umber as well.
1689
01:23:21.870 --> 01:23:25.323
I added a little bit too much burnt amber.
1690
01:23:26.160 --> 01:23:28.350
If you do that, if you add a little bit too much
1691
01:23:28.350 --> 01:23:30.240
burnt number or too much blue
1692
01:23:30.240 --> 01:23:33.600
because we've saved extra colours on the side here,
1693
01:23:33.600 --> 01:23:35.940
you can pick up again from the colour
1694
01:23:35.940 --> 01:23:36.930
that you've already mixed up.
1695
01:23:36.930 --> 01:23:38.100
So what I did,
1696
01:23:38.100 --> 01:23:40.449
because I noticed I added a little bit too much,
1697
01:23:40.449 --> 01:23:43.230
I just picked back up from my second colour,
1698
01:23:43.230 --> 01:23:45.630
my colour number two in row number four,
1699
01:23:45.630 --> 01:23:47.310
and added that back into that mix.
1700
01:23:47.310 --> 01:23:50.050
And it's just, it's lighted it a little bit more
1701
01:23:51.960 --> 01:23:54.000
but there's still room for me to go darker again.
1702
01:23:54.000 --> 01:23:55.500
So I've mixed that up.
1703
01:23:55.500 --> 01:24:00.500
That's a nice rich, almost purplely brown or reddy brown.
1704
01:24:04.230 --> 01:24:06.810
And I've put that to the side
1705
01:24:06.810 --> 01:24:10.110
and then to go darker again, it's the same process.
1706
01:24:10.110 --> 01:24:12.180
So a little bit more alizarin,
1707
01:24:12.180 --> 01:24:17.180
a little bit more blue and a little bit more burnt amber.
1708
01:24:22.600 --> 01:24:25.110
And by this point, because we've pretty much
1709
01:24:25.110 --> 01:24:26.430
gotten rid of all of the yellow,
1710
01:24:26.430 --> 01:24:28.150
there's not much yellow left now
1711
01:24:29.220 --> 01:24:31.083
the colour is going to be almost black.
1712
01:24:31.083 --> 01:24:34.713
It's going to be a really nice black substitute.
1713
01:24:37.340 --> 01:24:41.340
And this works fantastic for those really dark parts
1714
01:24:41.340 --> 01:24:42.173
of the face.
1715
01:24:42.173 --> 01:24:45.420
So think the pupils, the nostrils,
1716
01:24:45.420 --> 01:24:46.590
especially just a touch.
1717
01:24:46.590 --> 01:24:48.720
If you go, if you were to get black,
1718
01:24:48.720 --> 01:24:51.420
straight out of the tube and paint the nostrils black,
1719
01:24:51.420 --> 01:24:55.470
that's gonna look really intense and probably quite scary
1720
01:24:55.470 --> 01:24:56.940
but this is a really great way
1721
01:24:56.940 --> 01:24:59.435
of getting a really dark, rich colour,
1722
01:24:59.435 --> 01:25:02.730
but using those same colours that you've used
1723
01:25:02.730 --> 01:25:05.471
to paint the whole other parts of the face.
1724
01:25:05.471 --> 01:25:07.140
So it's going to work.
1725
01:25:07.140 --> 01:25:09.000
It's not gonna look that dark
1726
01:25:09.000 --> 01:25:11.254
as if you were to just use black.
1727
01:25:11.254 --> 01:25:13.720
So I've got those next four colours
1728
01:25:16.353 --> 01:25:19.697
and I'm gonna make sure my brush is thoroughly clean
1729
01:25:21.120 --> 01:25:25.050
and then paint those four squares into the next row.
1730
01:25:25.050 --> 01:25:27.033
So this is now row number four.
1731
01:26:09.930 --> 01:26:12.540
So it might not sure how well that's translating,
1732
01:26:12.540 --> 01:26:15.240
but these two,
1733
01:26:15.240 --> 01:26:17.705
well, this first column,
1734
01:26:17.705 --> 01:26:20.730
these colours look very similar to each other,
1735
01:26:20.730 --> 01:26:22.653
and you might notice that they do,
1736
01:26:24.390 --> 01:26:26.647
but if you look closely and I guess the thing about
1737
01:26:26.647 --> 01:26:28.650
painting portraits is you kind of pick up
1738
01:26:28.650 --> 01:26:32.977
that sensitivity to those different hues
1739
01:26:34.064 --> 01:26:37.230
and different subtle differences in colour.
1740
01:26:37.230 --> 01:26:39.060
So even though they do look very similar,
1741
01:26:39.060 --> 01:26:41.490
I can still see how different they are.
1742
01:26:41.490 --> 01:26:43.890
I can see that the top one is more orange
1743
01:26:43.890 --> 01:26:45.300
and then the next one is a little bit more
1744
01:26:45.300 --> 01:26:47.185
of a darker brown orange.
1745
01:26:47.185 --> 01:26:50.763
And then the third column it's starting to get more red.
1746
01:26:58.680 --> 01:27:01.830
We have had a question about the amount of paint
1747
01:27:01.830 --> 01:27:04.680
that you use, so I suppose if you're doing
1748
01:27:04.680 --> 01:27:07.803
a larger portrait, you just mix up more paint
1749
01:27:07.803 --> 01:27:09.930
just to take into account for that.
1750
01:27:09.930 --> 01:27:11.580
Yeah, absolutely.
1751
01:27:11.580 --> 01:27:16.580
And I generally work on smaller parts of a portrait
1752
01:27:17.910 --> 01:27:18.743
at a time.
1753
01:27:18.743 --> 01:27:21.030
So I don't, I'm not really one of those
1754
01:27:21.030 --> 01:27:23.479
big messy painters where I'm working with big brushes.
1755
01:27:23.479 --> 01:27:28.479
So for example, my Darling Prize Piece, it is a large piece,
1756
01:27:28.740 --> 01:27:33.740
but I was still only using brushes about this kind of size.
1757
01:27:34.672 --> 01:27:38.010
On occasion I would use a larger hog hair brush.
1758
01:27:38.010 --> 01:27:41.054
And that's when I did have to mix up quite a lot of paint.
1759
01:27:41.054 --> 01:27:44.820
So I was using, you know, quadruple the amount
1760
01:27:44.820 --> 01:27:46.530
that we are mixing up now.
1761
01:27:46.530 --> 01:27:49.800
But for the most part,
1762
01:27:49.800 --> 01:27:53.463
I like to work in thinner layers of paint
1763
01:27:53.463 --> 01:27:55.290
with smaller brushes.
1764
01:27:55.290 --> 01:27:59.220
So yeah, it really depends on what you're working on
1765
01:27:59.220 --> 01:28:03.044
but for today because we're working on quite a smaller,
1766
01:28:03.044 --> 01:28:08.044
A4 size picture, what we're mixing up is is enough
1767
01:28:09.030 --> 01:28:11.913
but don't be afraid to mix up more if you need to.
1768
01:28:20.810 --> 01:28:24.810
So you can see that this jump is quite intense.
1769
01:28:24.810 --> 01:28:28.170
That was because I added more umber than I meant to.
1770
01:28:28.170 --> 01:28:31.680
But if that's what your palette looks like at parts,
1771
01:28:31.680 --> 01:28:35.070
if there's sun contrast, that's totally fine.
1772
01:28:35.070 --> 01:28:36.000
It doesn't really matter
1773
01:28:36.000 --> 01:28:39.510
because there's an infinite amount of values in
1774
01:28:39.510 --> 01:28:41.100
between these two colours.
1775
01:28:41.100 --> 01:28:44.640
So if I just mix them together at a later stage,
1776
01:28:44.640 --> 01:28:47.250
when I'm painting, then I'll be able to get the colour
1777
01:28:47.250 --> 01:28:48.243
that's in between.
1778
01:29:02.490 --> 01:29:04.650
Okay, so that's that fourth row.
1779
01:29:04.650 --> 01:29:06.390
There's still two rows left,
1780
01:29:06.390 --> 01:29:09.030
but we're only gonna fill in one more.
1781
01:29:09.030 --> 01:29:13.620
The reason why I like to just save an extra row is because,
1782
01:29:13.620 --> 01:29:15.660
and I probably should have mentioned this earlier,
1783
01:29:15.660 --> 01:29:16.980
but that's, that's okay.
1784
01:29:16.980 --> 01:29:19.470
If you've made up extra colours, for example
1785
01:29:19.470 --> 01:29:21.390
or if you want to experiment with others,
1786
01:29:21.390 --> 01:29:24.750
there's four extra squares that you can add those in.
1787
01:29:24.750 --> 01:29:28.800
So some people they decide they wanna break the rules
1788
01:29:28.800 --> 01:29:30.300
a bit and they wanna mix up a green
1789
01:29:30.300 --> 01:29:33.270
because there is green in skin tone in different areas.
1790
01:29:33.270 --> 01:29:36.030
So you can try that a bit later if you want,
1791
01:29:36.030 --> 01:29:38.280
but we're just gonna do one more row.
1792
01:29:38.280 --> 01:29:40.530
So I'll quickly write in the information
1793
01:29:40.530 --> 01:29:43.290
for row number four, then we'll move on to the next row
1794
01:29:43.290 --> 01:29:44.875
which is a little bit different.
1795
01:29:44.875 --> 01:29:48.360
And then we'll be ready for our break
1796
01:29:48.360 --> 01:29:50.970
before we come back for the afternoon
1797
01:29:50.970 --> 01:29:52.470
where we do our painting.
1798
01:29:52.470 --> 01:29:56.610
But if you want to, if you have any extra colours,
1799
01:29:56.610 --> 01:29:57.990
for example, that you've mixed it up,
1800
01:29:57.990 --> 01:30:00.660
maybe by mistake or that you thought were mistakes
1801
01:30:00.660 --> 01:30:02.553
but you don't wanna get rid of them,
1802
01:30:02.553 --> 01:30:06.425
start filling those in on that bottom four squares as well.
1803
01:30:06.425 --> 01:30:08.880
But if you also just wanna leave them completely blank,
1804
01:30:08.880 --> 01:30:11.520
that's absolutely fine.
1805
01:30:11.520 --> 01:30:16.520
So row four, that is a cool pink and it's mid to dark.
1806
01:30:19.850 --> 01:30:23.223
And for the last guided row,
1807
01:30:24.361 --> 01:30:27.663
we are working on something a little bit different,
1808
01:30:28.530 --> 01:30:32.103
which is grey to purple or grey slash purple.
1809
01:30:33.780 --> 01:30:36.248
And on the PowerPoint it looks very grey.
1810
01:30:36.248 --> 01:30:39.390
What we're mixing up today because of
1811
01:30:39.390 --> 01:30:42.780
the type of skin tone that I'm personally working from.
1812
01:30:42.780 --> 01:30:45.930
She has more of a purplely blue undertone.
1813
01:30:45.930 --> 01:30:50.550
So it doesn't really matter what this is.
1814
01:30:50.550 --> 01:30:52.950
I just find that having a good,
1815
01:30:52.950 --> 01:30:56.490
almost monochrome neutral grey,
1816
01:30:56.490 --> 01:30:58.830
whether that's slightly shifted towards more grey,
1817
01:30:58.830 --> 01:31:01.680
more blue or more red is just a really great colour
1818
01:31:01.680 --> 01:31:03.210
to have in the palette.
1819
01:31:03.210 --> 01:31:05.970
This kind of colour appears
1820
01:31:05.970 --> 01:31:08.970
if someone has blue or grey eyes in the eyes,
1821
01:31:08.970 --> 01:31:10.740
it often appears under the eyes
1822
01:31:10.740 --> 01:31:13.020
in little shadows or where there might be
1823
01:31:13.020 --> 01:31:14.430
the skin might be more thin.
1824
01:31:14.430 --> 01:31:18.619
And the veins of someone's skin is showing through,
1825
01:31:18.619 --> 01:31:21.350
if someone has facial hair,
1826
01:31:21.350 --> 01:31:24.623
then what you would call like the five o'clock shadow
1827
01:31:24.623 --> 01:31:27.750
that part of the face is gonna be more grey.
1828
01:31:27.750 --> 01:31:30.510
So this colour it's something
1829
01:31:30.510 --> 01:31:31.800
that you wouldn't often think of
1830
01:31:31.800 --> 01:31:35.040
as being in skin tone, but it's really there.
1831
01:31:35.040 --> 01:31:37.860
And I often find that as well.
1832
01:31:37.860 --> 01:31:39.750
The colours that we've mixed up so far,
1833
01:31:39.750 --> 01:31:43.830
these 16 colours, some at some points,
1834
01:31:43.830 --> 01:31:46.290
they might still be far too saturated.
1835
01:31:46.290 --> 01:31:50.580
So I like to dip into my greys and my purples,
1836
01:31:50.580 --> 01:31:55.290
and then mix back into these really saturated skin tones.
1837
01:31:55.290 --> 01:31:56.790
And it just dolls it down a little bit.
1838
01:31:56.790 --> 01:31:59.730
So even though we're mixing up separate colours,
1839
01:31:59.730 --> 01:32:01.620
don't use them in isolation.
1840
01:32:01.620 --> 01:32:05.148
It's really good to look at your reference and think
1841
01:32:05.148 --> 01:32:08.820
actually the perfect colour is a mix between
1842
01:32:08.820 --> 01:32:11.880
two or three of these other colours and blend them together.
1843
01:32:11.880 --> 01:32:16.880
So there's not really any way to go wrong with this.
1844
01:32:17.010 --> 01:32:20.310
I kind of just mix all the colours together and create a
1845
01:32:20.310 --> 01:32:23.610
really dark colour and then add white to it.
1846
01:32:23.610 --> 01:32:25.350
But I will speak through a bit of
1847
01:32:25.350 --> 01:32:28.293
a bit of logic through it so that it makes sense.
1848
01:32:29.610 --> 01:32:31.770
The Amber listed in the PowerPoint
1849
01:32:31.770 --> 01:32:33.270
was burnt amber, wasn't it?
Yes
1850
01:32:33.270 --> 01:32:34.355
The same colours
1851
01:32:34.355 --> 01:32:35.188
we've been using.
Yes.
1852
01:32:36.750 --> 01:32:39.480
So same kind of process.
1853
01:32:39.480 --> 01:32:41.610
We're still gonna start with
1854
01:32:41.610 --> 01:32:44.370
the yellow, the red and the blue,
1855
01:32:44.370 --> 01:32:46.050
but because we're going for something
1856
01:32:46.050 --> 01:32:49.440
that is a bit more purple as opposed to orange toned.
1857
01:32:49.440 --> 01:32:51.000
If you think we are kind of making something,
1858
01:32:51.000 --> 01:32:52.920
that's a bit of a complimentary
1859
01:32:52.920 --> 01:32:53.940
something that's gonna
1860
01:32:53.940 --> 01:32:55.980
doll down the Chrome if we need to.
1861
01:32:55.980 --> 01:32:58.380
we are gonna start with red this time,
1862
01:32:58.380 --> 01:33:01.320
as opposed to starting with yellow.
1863
01:33:01.320 --> 01:33:04.593
So I'm taking up about a pea size amount of red this time,
1864
01:33:05.700 --> 01:33:07.710
and then rather than adding yellow into it,
1865
01:33:07.710 --> 01:33:09.873
because we're making a purple,
1866
01:33:09.873 --> 01:33:12.480
I'm going to add blue to it.
1867
01:33:12.480 --> 01:33:14.830
And this time you can add, depending on what,
1868
01:33:14.830 --> 01:33:17.250
how you would've by this point
1869
01:33:17.250 --> 01:33:20.533
hopefully worked out how strong your blue is
1870
01:33:20.533 --> 01:33:22.650
because my blue is still quite strong.
1871
01:33:22.650 --> 01:33:25.439
I'm taking just less than a pea size amount.
1872
01:33:25.439 --> 01:33:29.220
If you're working with say a ultramarine blue,
1873
01:33:29.220 --> 01:33:31.830
which is really, really strong, you might need less.
1874
01:33:31.830 --> 01:33:33.000
If you're working with something else,
1875
01:33:33.000 --> 01:33:36.990
you might need more, but mostly red.
1876
01:33:36.990 --> 01:33:38.530
And then a little bit of blue
1877
01:33:39.600 --> 01:33:42.903
till you get this really deep kind of violet colour.
1878
01:33:46.860 --> 01:33:49.320
And then, because I always
1879
01:33:49.320 --> 01:33:51.690
just play this by ear at this point,
1880
01:33:51.690 --> 01:33:53.583
I'm just gonna work it out as I go.
1881
01:33:56.040 --> 01:33:57.663
Maybe add a bit more blue.
1882
01:33:58.980 --> 01:34:00.720
Yeah, I think that's good.
1883
01:34:00.720 --> 01:34:03.090
And a good way to check when you're mixing a colour,
1884
01:34:03.090 --> 01:34:06.360
that by itself is really, really dark.
1885
01:34:06.360 --> 01:34:09.537
Just kind of flatten it out, scrape it over the,
1886
01:34:09.537 --> 01:34:11.550
the palette and you can see the undertone.
1887
01:34:11.550 --> 01:34:14.280
So I can see that that is a nice undertone
1888
01:34:14.280 --> 01:34:15.333
that I'm going for.
1889
01:34:17.700 --> 01:34:20.940
Now to make it more grey,
1890
01:34:20.940 --> 01:34:24.960
as opposed to just pure purple.
1891
01:34:24.960 --> 01:34:27.390
I'm gonna add a little bit of yellow and brown into it.
1892
01:34:27.390 --> 01:34:30.000
So start with the yellow, not too much,
1893
01:34:30.000 --> 01:34:34.200
because then it's gonna kind of go a bit too green
1894
01:34:34.200 --> 01:34:36.420
if you have too much blue in it, for example.
1895
01:34:36.420 --> 01:34:38.670
But just enough to bump the chroma down.
1896
01:34:38.670 --> 01:34:41.652
So again, it really depends on
1897
01:34:41.652 --> 01:34:44.520
how strong your yellow is.
1898
01:34:44.520 --> 01:34:46.233
Lemon yellow is quite weak,
1899
01:34:47.070 --> 01:34:48.270
so I'm just progressively
1900
01:34:48.270 --> 01:34:50.460
adding really small amounts
1901
01:34:50.460 --> 01:34:53.613
until it becomes a little bit more dull.
1902
01:34:55.590 --> 01:34:57.360
But this is probably the hardest step
1903
01:34:57.360 --> 01:34:59.310
to get wrong because you're really just,
1904
01:34:59.310 --> 01:35:00.540
it's almost like when you're a kid
1905
01:35:00.540 --> 01:35:03.090
and you just mix all the colours together.
1906
01:35:03.090 --> 01:35:04.253
It's a perfect one.
Yeah.
1907
01:35:05.940 --> 01:35:06.773
And then the last step,
1908
01:35:06.773 --> 01:35:08.610
I'm just gonna add a bit more
1909
01:35:08.610 --> 01:35:11.260
of the burnt amber which you might have already done.
1910
01:35:14.940 --> 01:35:17.670
So that's the colour that we are left with
1911
01:35:17.670 --> 01:35:20.370
and it's a really rich, dark colour.
1912
01:35:20.370 --> 01:35:23.730
It's almost over the camera it looks quite ready purple,
1913
01:35:23.730 --> 01:35:27.570
but in person it's really, really rich and dark.
1914
01:35:27.570 --> 01:35:30.090
It's another good substitute for black,
1915
01:35:30.090 --> 01:35:31.440
depending on what the undertone
1916
01:35:31.440 --> 01:35:32.840
is that you're working with.
1917
01:35:35.340 --> 01:35:37.640
Actually, I want to add a bit more blue to it.
1918
01:35:45.300 --> 01:35:46.133
Okay.
1919
01:35:48.240 --> 01:35:51.240
So that's the first colour in the fifth row.
1920
01:35:51.240 --> 01:35:52.740
I'm gonna pop that to the side
1921
01:35:56.340 --> 01:35:57.750
and then with what I've got left,
1922
01:35:57.750 --> 01:36:00.000
I'm going to progressively add white in.
1923
01:36:00.000 --> 01:36:02.520
So we're gonna have a dark
1924
01:36:02.520 --> 01:36:06.270
and then two kind of mid tones and then a bright.
1925
01:36:06.270 --> 01:36:08.220
So we're going from dark to bright,
1926
01:36:08.220 --> 01:36:10.290
but quite dramatically,
1927
01:36:10.290 --> 01:36:11.123
'cause we're only spreading
1928
01:36:11.123 --> 01:36:15.123
this over four squares as opposed to eight.
1929
01:36:19.110 --> 01:36:20.700
So you can see that's that
1930
01:36:20.700 --> 01:36:23.793
it's almost like this movie purple.
1931
01:36:26.003 --> 01:36:27.480
It's kind of hard to see
1932
01:36:27.480 --> 01:36:29.580
because we were mixing up something so dark.
1933
01:36:29.580 --> 01:36:31.950
It's almost a bit of a surprise
1934
01:36:31.950 --> 01:36:33.093
when you add the white
1935
01:36:33.093 --> 01:36:35.333
'cause you get to see the undertones come through.
1936
01:36:36.720 --> 01:36:38.010
It's up to you at this point.
1937
01:36:38.010 --> 01:36:39.487
As you can see on the screen that
1938
01:36:39.487 --> 01:36:43.170
the PowerPoint that's quite grey,
1939
01:36:43.170 --> 01:36:45.330
this is quite purple and that's
1940
01:36:45.330 --> 01:36:47.490
because I haven't added so much yellow into it
1941
01:36:47.490 --> 01:36:49.080
or so much brown.
1942
01:36:49.080 --> 01:36:51.510
Depending on the reference photo that you're working from,
1943
01:36:51.510 --> 01:36:53.820
if you're not seeing these kind of purple colours,
1944
01:36:53.820 --> 01:36:55.693
but you're seeing maybe more greys
1945
01:36:55.693 --> 01:36:57.021
add a little bit more yellow
1946
01:36:57.021 --> 01:37:00.162
and a little bit more brown to get more of a,
1947
01:37:00.162 --> 01:37:04.050
a dollar kind of saturated colour.
1948
01:37:04.050 --> 01:37:05.880
I'm gonna add mine in at this point as well,
1949
01:37:05.880 --> 01:37:07.730
just to do it down a little bit more.
1950
01:37:19.716 --> 01:37:22.050
And then save that so half of that,
1951
01:37:22.050 --> 01:37:24.963
and then I'm going to add white two more times.
1952
01:38:12.300 --> 01:38:13.140
Okay.
1953
01:38:13.140 --> 01:38:16.110
So that's those last four colours
1954
01:38:16.110 --> 01:38:18.993
I'm going to quickly paint them in.
1955
01:38:25.510 --> 01:38:30.510
And this isn't an exhaustive grid of
1956
01:38:30.690 --> 01:38:32.370
all of the skin tones that exist.
1957
01:38:32.370 --> 01:38:34.950
There's so much more going on
1958
01:38:34.950 --> 01:38:38.881
than what we've just mixed up over the last
1959
01:38:38.881 --> 01:38:41.640
or however long it's been,
1960
01:38:41.640 --> 01:38:44.070
but it's not exhaustive.
1961
01:38:44.070 --> 01:38:45.962
It's just, hopefully by now
1962
01:38:45.962 --> 01:38:49.320
you've got a good idea of
1963
01:38:49.320 --> 01:38:51.990
some the techniques that you can use
1964
01:38:51.990 --> 01:38:53.865
and remember as well that we've
1965
01:38:53.865 --> 01:38:56.790
well, especially well, at least me,
1966
01:38:56.790 --> 01:38:59.520
I've been working with cool colours.
1967
01:38:59.520 --> 01:39:02.130
I've been working with alizarin crimson and yellow
1968
01:39:02.130 --> 01:39:05.250
and lemon yellow, and then my blue is cobalt blue,
1969
01:39:05.250 --> 01:39:07.560
but I could mix up a totally different palette again,
1970
01:39:07.560 --> 01:39:12.533
if I used three different types of primary colours.
1971
01:39:13.860 --> 01:39:16.800
So if I use those cadmiums for example,
1972
01:39:16.800 --> 01:39:19.053
they would be slightly different again.
1973
01:39:20.010 --> 01:39:21.909
And then even though I've mixed up
1974
01:39:21.909 --> 01:39:26.909
this purplely grey at the end, it's not the only type of,
1975
01:39:28.410 --> 01:39:30.810
kind of strange or unusual additional colour
1976
01:39:30.810 --> 01:39:32.280
that you might want to mix.
1977
01:39:32.280 --> 01:39:35.280
So, as I was saying a little bit earlier
1978
01:39:35.280 --> 01:39:36.960
at the very beginning,
1979
01:39:36.960 --> 01:39:39.690
I like to traditionally use
1980
01:39:39.690 --> 01:39:43.590
a green undertone value underpainting
1981
01:39:43.590 --> 01:39:46.440
at the very start of a portrait that I make.
1982
01:39:46.440 --> 01:39:48.480
So while I love doing
1983
01:39:48.480 --> 01:39:52.503
these Alla Prima style quick paintings,
1984
01:39:54.210 --> 01:39:56.610
they're still gonna look very saturated
1985
01:39:56.610 --> 01:39:59.643
because we don't have like an underpainting underneath.
1986
01:40:00.676 --> 01:40:05.676
So in addition to something like a purple,
1987
01:40:06.360 --> 01:40:09.210
if you've still got those four squares underneath,
1988
01:40:09.210 --> 01:40:10.800
when we stop for a break,
1989
01:40:10.800 --> 01:40:13.830
you might like to mix up say more of a green grey
1990
01:40:13.830 --> 01:40:15.150
and add that in as well.
1991
01:40:15.150 --> 01:40:19.749
So this isn't an exhaustive list of skin tones,
1992
01:40:19.749 --> 01:40:23.400
but it is typically the palette that I like to use
1993
01:40:23.400 --> 01:40:28.400
for most of the paintings that I work on and, yeah.
1994
01:40:28.620 --> 01:40:30.030
And the colours that we had in
1995
01:40:30.030 --> 01:40:32.340
that last lot was pretty much everything, wasn't, it?
1996
01:40:32.340 --> 01:40:34.257
In various different capacities
1997
01:40:34.257 --> 01:40:35.640
Yeah it's like you mix everything together.
1998
01:40:35.640 --> 01:40:36.473
Yeah.
1999
01:40:37.710 --> 01:40:40.770
I've heard that there is something that some artists do
2000
01:40:40.770 --> 01:40:43.860
where they, at the very end of their painting day,
2001
01:40:43.860 --> 01:40:46.470
where they've got all of those colours left on their palette,
2002
01:40:46.470 --> 01:40:48.030
they'll mix everything together.
2003
01:40:48.030 --> 01:40:51.842
And it makes what is apparently called elephant grey.
2004
01:40:51.842 --> 01:40:53.370
And then they use that to
2005
01:40:53.370 --> 01:40:55.470
prime their canvases for their next painting.
2006
01:40:55.470 --> 01:40:58.958
So it doesn't waste all of that leftover excess paint.
2007
01:40:58.958 --> 01:41:00.840
There's, a good tip.
2008
01:41:00.840 --> 01:41:01.673
Yeah.
2009
01:41:03.000 --> 01:41:07.500
But that concludes the first half of the workshop,
2010
01:41:07.500 --> 01:41:08.430
which is all the,
2011
01:41:08.430 --> 01:41:12.660
a lot of information is quite information intense,
2012
01:41:12.660 --> 01:41:15.510
but this afternoon will be really enjoyable
2013
01:41:15.510 --> 01:41:17.070
because that's when we get to do our painting
2014
01:41:17.070 --> 01:41:20.280
and put all of this hard work into practise
2015
01:41:20.280 --> 01:41:21.540
and see what we make.
2016
01:41:21.540 --> 01:41:22.800
Terrific.
2017
01:41:22.800 --> 01:41:24.120
Well, Mel, we've got,
2018
01:41:24.120 --> 01:41:27.720
we've sort of just hit nearly quarter to three.
2019
01:41:27.720 --> 01:41:30.330
How long would you like to have a little break for
2020
01:41:30.330 --> 01:41:31.743
before we come back in?
2021
01:41:32.910 --> 01:41:34.290
I honestly don't mind.
2022
01:41:34.290 --> 01:41:35.910
So maybe 15 minutes.
15 minutes, yeah.
2023
01:41:35.910 --> 01:41:36.743
And we start again.
2024
01:41:36.743 --> 01:41:38.040
Yeah,
Yeah.
2025
01:41:38.040 --> 01:41:41.130
Yeah, that sounds good.
That sounds great.
2026
01:41:41.130 --> 01:41:42.480
In the meantime,
2027
01:41:42.480 --> 01:41:45.060
if people would like to hold up their mixes.
2028
01:41:45.060 --> 01:41:45.893
Oh, we have a question.
2029
01:41:45.893 --> 01:41:49.291
Shall we clean pallets for the next session?
2030
01:41:49.291 --> 01:41:52.110
Save all of the paint that you've mixed up.
2031
01:41:52.110 --> 01:41:55.980
So if you've got little kind of excess mess,
2032
01:41:55.980 --> 01:41:58.560
every in little parts, you can tidy that up,
2033
01:41:58.560 --> 01:42:00.690
but all of the paint that you've mixed up,
2034
01:42:00.690 --> 01:42:02.310
we're gonna use that in the afternoon.
2035
01:42:02.310 --> 01:42:04.413
Okay, all right sounds good.
2036
01:42:05.385 --> 01:42:07.080
Well, we might even just break for 10 minutes.
2037
01:42:07.080 --> 01:42:09.990
Just to give people a chance to go to the bathroom.
2038
01:42:09.990 --> 01:42:11.460
Grab a cup of tea if you'd like,
2039
01:42:11.460 --> 01:42:13.962
or continue to mix colours,
2040
01:42:13.962 --> 01:42:16.170
we can see you all up.
2041
01:42:16.170 --> 01:42:18.870
I'm sorry, I'm doing the worst camera work in the world.
2042
01:42:18.870 --> 01:42:21.450
We can see you all up on the screen behind us
2043
01:42:21.450 --> 01:42:24.060
and see you all working hard on those, that mixing,
2044
01:42:24.060 --> 01:42:26.070
which is absolutely fantastic.
2045
01:42:26.070 --> 01:42:27.923
So if you have any other questions,
2046
01:42:27.923 --> 01:42:29.880
please continue to shoot them through.
2047
01:42:29.880 --> 01:42:32.880
I'm trying to feed as many as I can to Mel, as we go.
2048
01:42:32.880 --> 01:42:35.910
Otherwise we may have Hector correct me if I'm wrong.
2049
01:42:35.910 --> 01:42:38.040
We may have a few little time lapse videos
2050
01:42:38.040 --> 01:42:40.410
that we might be able to roll off bell,
2051
01:42:40.410 --> 01:42:41.580
doing some of her painting,
2052
01:42:41.580 --> 01:42:42.720
which might get you excited
2053
01:42:42.720 --> 01:42:44.460
for the next session when we're gonna jump into it.
2054
01:42:44.460 --> 01:42:45.840
So grab a cup of tea.
2055
01:42:45.840 --> 01:42:46.673
If you need it,
2056
01:42:46.673 --> 01:42:47.790
go to the bathroom quickly
2057
01:42:47.790 --> 01:42:48.990
and we'll see you all back here.
2058
01:42:48.990 --> 01:42:52.830
Ready to go in 10 minutes, time at five to three.
2059
01:42:52.830 --> 01:42:54.990
Okay, see you soon.
2060
01:42:54.990 --> 01:42:56.730
I thought I'd come back in a little bit earlier.
2061
01:42:56.730 --> 01:42:58.470
I know that don't panic everyone.
2062
01:42:58.470 --> 01:42:59.730
If you can hear this in the background
2063
01:42:59.730 --> 01:43:01.890
and you're halfway through your cup of tea,
2064
01:43:01.890 --> 01:43:03.060
but we had quite a few questions
2065
01:43:03.060 --> 01:43:05.070
coming through on the Zoom chat.
2066
01:43:05.070 --> 01:43:06.690
So I thought we might throw a few of you,
2067
01:43:06.690 --> 01:43:08.784
the questions at you, Mel,
2068
01:43:08.784 --> 01:43:10.584
while we're waiting to come back in.
2069
01:43:12.270 --> 01:43:13.470
Somebody has asked if we could get
2070
01:43:13.470 --> 01:43:15.513
a list of the brushes that you use.
2071
01:43:16.436 --> 01:43:19.214
I can give you a list of the ones I have here.
2072
01:43:19.214 --> 01:43:22.385
The ones that I get are typically
2073
01:43:22.385 --> 01:43:26.250
not super expensive brushes.
2074
01:43:26.250 --> 01:43:28.380
I try to look after them as best as I can,
2075
01:43:28.380 --> 01:43:30.030
but I find that no matter what I do,
2076
01:43:30.030 --> 01:43:32.520
I can't seem to get my brushes to last,
2077
01:43:32.520 --> 01:43:33.840
hopefully that there's other,
2078
01:43:33.840 --> 01:43:36.150
maybe some other people out there that have tips as well,
2079
01:43:36.150 --> 01:43:37.320
that they could share with me,
2080
01:43:37.320 --> 01:43:40.043
but how to not get my brushes ruined so much.
2081
01:43:40.043 --> 01:43:43.230
But I think probably the main reason is because
2082
01:43:43.230 --> 01:43:44.940
I like to use synthetic brushes.
2083
01:43:44.940 --> 01:43:46.931
And because I'm working with oils,
2084
01:43:46.931 --> 01:43:49.500
I think they're a little bit less durable.
2085
01:43:49.500 --> 01:43:51.963
So hog hair brushes, for example,
2086
01:43:53.400 --> 01:43:55.410
they last much better when you're working
2087
01:43:55.410 --> 01:43:57.180
with solvents or thinners.
2088
01:43:57.180 --> 01:43:59.220
But the brushes that I have today
2089
01:43:59.220 --> 01:44:04.220
are just some basic jazz art flat and round brushes.
2090
01:44:04.680 --> 01:44:06.390
And they're synthetic ones.
2091
01:44:06.390 --> 01:44:08.760
I use quite small brushes.
2092
01:44:08.760 --> 01:44:10.320
So maybe I'll hold these up to the camera
2093
01:44:10.320 --> 01:44:11.470
so that people can see.
2094
01:44:12.840 --> 01:44:14.460
They're quite yeah, they're quite small.
2095
01:44:14.460 --> 01:44:17.926
I do like a combination of flat and round though, yeah.
2096
01:44:17.926 --> 01:44:19.410
Terrific thank you.
2097
01:44:19.410 --> 01:44:21.300
But I'm that much of a brush snob.
2098
01:44:21.300 --> 01:44:22.740
I don't really know much about brushes
2099
01:44:22.740 --> 01:44:24.960
as long as they work and they feel good.
2100
01:44:24.960 --> 01:44:27.145
I get through them too quick.
2101
01:44:27.145 --> 01:44:29.880
Yeah, I think you may have mentioned this in,
2102
01:44:29.880 --> 01:44:32.760
when we were mixing the second last row,
2103
01:44:32.760 --> 01:44:34.110
but what colour would you use
2104
01:44:34.110 --> 01:44:35.670
on that pallet that we've just mixed
2105
01:44:35.670 --> 01:44:37.383
for the inside of nostrils?
2106
01:44:39.655 --> 01:44:42.570
I'm not sure what to call it,
2107
01:44:42.570 --> 01:44:46.860
but probably row number four and then colour number four.
2108
01:44:46.860 --> 01:44:51.860
So like or although mine isn't quite dark enough,
2109
01:44:52.680 --> 01:44:55.530
but if I was to keep progressively going darker again,
2110
01:44:55.530 --> 01:44:58.249
either like the, a really dark orange or really dark pink.
2111
01:44:58.249 --> 01:44:59.670
Because if you think the nose
2112
01:44:59.670 --> 01:45:00.590
has a lot of blood vessels in it
2113
01:45:00.590 --> 01:45:03.630
so it's probably gonna be more pinky toned than orange,
2114
01:45:03.630 --> 01:45:05.730
but it's one of those that is really dark.
2115
01:45:05.730 --> 01:45:08.430
Okay, and if you were to use a green,
2116
01:45:08.430 --> 01:45:10.500
which green would you use?
2117
01:45:10.500 --> 01:45:12.360
I would mix up my own green.
2118
01:45:12.360 --> 01:45:15.540
So it's probably the best way to do it
2119
01:45:15.540 --> 01:45:17.714
would be using,
2120
01:45:17.714 --> 01:45:19.710
with the palette that I'm working with today
2121
01:45:19.710 --> 01:45:21.420
it would be with blue
2122
01:45:21.420 --> 01:45:23.490
and burnt amber to create a black,
2123
01:45:23.490 --> 01:45:24.990
but a blue tone black
2124
01:45:24.990 --> 01:45:26.670
and then mix yellow into that
2125
01:45:26.670 --> 01:45:28.800
and then to create a green that way.
2126
01:45:28.800 --> 01:45:32.010
But if I was in my studio,
2127
01:45:32.010 --> 01:45:35.010
I would mix up yellow okra and Mars black.
2128
01:45:35.010 --> 01:45:36.960
Mars black is like a blue black.
2129
01:45:36.960 --> 01:45:38.190
And that is what I used to create
2130
01:45:38.190 --> 01:45:39.870
my Verdaccio under paintings.
2131
01:45:39.870 --> 01:45:42.240
And then from that I add white.
2132
01:45:42.240 --> 01:45:44.160
We had a few questions about the Verdaccio.
2133
01:45:44.160 --> 01:45:44.993
Yeah.
2134
01:45:44.993 --> 01:45:46.140
And whether or not you do a workshop,
2135
01:45:46.140 --> 01:45:49.500
an online workshop for in Verdaccio for us.
2136
01:45:49.500 --> 01:45:51.150
So yeah we'll have to try and work that one out.
2137
01:45:51.150 --> 01:45:52.050
We'll have a chat to Robert.
2138
01:45:52.050 --> 01:45:55.410
He's the one who's organising our workshops but.
2139
01:45:55.410 --> 01:45:58.260
Yeah, 'cause I so this workshop usually goes
2140
01:45:58.260 --> 01:46:00.456
in conjunction with my Verdaccio workshop,
2141
01:46:00.456 --> 01:46:03.420
which I teach in Perth,
2142
01:46:03.420 --> 01:46:07.320
but I haven't done that online before, but yeah.
2143
01:46:07.320 --> 01:46:09.660
Do you do other online courses as well?
2144
01:46:09.660 --> 01:46:11.610
No, well, it's more about a case
2145
01:46:11.610 --> 01:46:13.560
of having resources like this,
2146
01:46:13.560 --> 01:46:15.150
to be able to do something online.
2147
01:46:15.150 --> 01:46:17.880
'Cause this is working so well today
2148
01:46:17.880 --> 01:46:20.040
because we've got so many amazing staff
2149
01:46:20.040 --> 01:46:21.960
and people knowing what they're doing,
2150
01:46:21.960 --> 01:46:23.220
all the lighting and the cameras,
2151
01:46:23.220 --> 01:46:25.440
but I have no idea where to begin setting this up
2152
01:46:25.440 --> 01:46:27.573
at my own studio, but I'd love to.
2153
01:46:28.710 --> 01:46:29.610
Terrific.
2154
01:46:30.570 --> 01:46:35.460
And I think that's probably all of the questions.
2155
01:46:35.460 --> 01:46:38.670
Oh, we had a question for the tech guys.
2156
01:46:38.670 --> 01:46:40.290
Hector, is it possible to switch
2157
01:46:40.290 --> 01:46:41.640
just to the overhead camera
2158
01:46:41.640 --> 01:46:45.782
for people who'd like to see the finished palette. please.
2159
01:46:45.782 --> 01:46:47.850
Thank you.
2160
01:46:47.850 --> 01:46:49.375
Wait, trying to find the.
2161
01:46:49.375 --> 01:46:51.520
You could probably just leave it on the table
2162
01:46:51.520 --> 01:46:53.424
and if you just pop it down on the table, Mel.
2163
01:46:53.424 --> 01:46:55.060
And then he can zoom into it.
2164
01:46:55.060 --> 01:46:55.893
Yeah.
2165
01:46:55.893 --> 01:46:57.300
So there we go.
2166
01:46:57.300 --> 01:46:59.070
So maybe if you could refresh people's
2167
01:46:59.070 --> 01:47:00.690
just refresh people's memory.
2168
01:47:00.690 --> 01:47:04.080
Yeah, so we've got the blank space
2169
01:47:04.080 --> 01:47:04.913
at the bottom.
2170
01:47:04.913 --> 01:47:06.570
You might have filled some things in there
2171
01:47:06.570 --> 01:47:09.330
just if you had add some additional colours.
2172
01:47:09.330 --> 01:47:11.874
But we've got the oranges at the top,
2173
01:47:11.874 --> 01:47:14.190
which is great for those
2174
01:47:14.190 --> 01:47:16.080
points in the face where there's less blood.
2175
01:47:16.080 --> 01:47:17.070
So the bonier part.
2176
01:47:17.070 --> 01:47:19.680
So it it's almost the order of a face here.
2177
01:47:19.680 --> 01:47:20.970
We've got the top of the face.
2178
01:47:20.970 --> 01:47:24.360
This works good for the forehead or for cheekbones.
2179
01:47:24.360 --> 01:47:25.941
This works great for the centre of the face
2180
01:47:25.941 --> 01:47:28.170
because it's more pinky toned.
2181
01:47:28.170 --> 01:47:29.309
These are our cool pinks
2182
01:47:29.309 --> 01:47:31.620
and then the greys or the purples
2183
01:47:31.620 --> 01:47:34.170
work really good for the lower part of the face,
2184
01:47:34.170 --> 01:47:36.300
especially if someone has facial hair.
2185
01:47:36.300 --> 01:47:39.492
But these obviously that's not a hard and fast rule.
2186
01:47:39.492 --> 01:47:44.492
You can work with these colours all over the face.
2187
01:47:44.730 --> 01:47:47.892
Terrific, well I think that's hit five to three.
2188
01:47:47.892 --> 01:47:50.280
Don't panic anybody if you're,
2189
01:47:50.280 --> 01:47:51.600
if you're not back from your tea
2190
01:47:51.600 --> 01:47:54.660
or you need to go and take in some of the lovely sunshine,
2191
01:47:54.660 --> 01:47:56.490
which I hope you're enjoying wherever you are.
2192
01:47:56.490 --> 01:47:57.930
Although some people from overseas
2193
01:47:57.930 --> 01:48:00.840
have messages say it's the middle of the night.
2194
01:48:00.840 --> 01:48:02.940
It's a bit hard for them to see how to make their colours.
2195
01:48:02.940 --> 01:48:04.770
But thank you so much for joining us.
2196
01:48:04.770 --> 01:48:06.510
The recording will be available
2197
01:48:06.510 --> 01:48:09.000
on our website a little bit after the programme
2198
01:48:09.000 --> 01:48:11.850
and is a already available on Facebook live.
2199
01:48:11.850 --> 01:48:13.439
So if you'd like to get it
2200
01:48:13.439 --> 01:48:15.750
sooner than the next couple of days
2201
01:48:15.750 --> 01:48:17.790
and we'll have the workshop up on our website,
2202
01:48:17.790 --> 01:48:19.511
then you can always jump on Facebook live
2203
01:48:19.511 --> 01:48:23.070
and have a look back at the previous recording,
2204
01:48:23.070 --> 01:48:24.810
which will be on there as well.
2205
01:48:24.810 --> 01:48:28.263
So let's get back into it, painting.
2206
01:48:30.870 --> 01:48:34.770
Great so we're working now on the portrait,
2207
01:48:34.770 --> 01:48:37.710
so you'll all have your own picture that you're working from
2208
01:48:37.710 --> 01:48:41.190
and hopefully you've, pre-drawn a sketch onto your canvas.
2209
01:48:41.190 --> 01:48:43.260
I've pre-drawn a sketch onto mine.
2210
01:48:43.260 --> 01:48:45.360
If you wanted to practise this later on as well,
2211
01:48:45.360 --> 01:48:48.273
you can also will have give you access to this image.
2212
01:48:49.473 --> 01:48:51.313
Just a few little pointers
2213
01:48:51.313 --> 01:48:53.670
in terms of how to approach a portrait
2214
01:48:53.670 --> 01:48:55.293
if you haven't done one before,
2215
01:48:56.497 --> 01:48:58.710
try and visualise the face
2216
01:48:58.710 --> 01:49:02.053
in this kind of a manner on the PowerPoint.
2217
01:49:02.053 --> 01:49:06.030
So what I've done is on the PowerPoint.
2218
01:49:06.030 --> 01:49:08.071
You can see that image where I've drawn
2219
01:49:08.071 --> 01:49:10.980
almost like this counter drawing over the portrait
2220
01:49:10.980 --> 01:49:14.070
where we've got looking at shapes of light and dark.
2221
01:49:14.070 --> 01:49:16.140
So that's something that you can also do.
2222
01:49:16.140 --> 01:49:17.010
If you've got a pencil,
2223
01:49:17.010 --> 01:49:19.170
you can draw some sketches
2224
01:49:19.170 --> 01:49:22.657
or shapes of light and dark onto your reference photo.
2225
01:49:22.657 --> 01:49:26.520
I'm going to have that on my screen
2226
01:49:26.520 --> 01:49:29.516
as I paint so that I can see that.
2227
01:49:29.516 --> 01:49:32.700
But a few little tips.
2228
01:49:32.700 --> 01:49:36.960
So you can draw that onto your portrait to refer to,
2229
01:49:36.960 --> 01:49:39.054
but also just generally
2230
01:49:39.054 --> 01:49:42.180
think about your big shapes first.
2231
01:49:42.180 --> 01:49:44.277
So rather than going straight into the eyes
2232
01:49:44.277 --> 01:49:45.930
and the nose and the mouth
2233
01:49:45.930 --> 01:49:49.800
try and just stick to the left side
2234
01:49:49.800 --> 01:49:51.600
or the right side of the face.
2235
01:49:51.600 --> 01:49:54.060
I like to start on the side of the face that is in light.
2236
01:49:54.060 --> 01:49:57.570
So if you've got a bright cheekbone,
2237
01:49:57.570 --> 01:49:59.293
for example, begin there.
2238
01:49:59.293 --> 01:50:01.770
The next thing is to then think about
2239
01:50:01.770 --> 01:50:03.120
the fat over lean rule.
2240
01:50:03.120 --> 01:50:05.670
So if you're working with acrylic,
2241
01:50:05.670 --> 01:50:07.110
this won't apply to you,
2242
01:50:07.110 --> 01:50:09.120
but if you're working with oil paint,
2243
01:50:09.120 --> 01:50:11.280
fat paint has more oil in it
2244
01:50:11.280 --> 01:50:13.560
thin or lean paint has more solvent in it
2245
01:50:13.560 --> 01:50:15.270
or medium that you've mixed in.
2246
01:50:15.270 --> 01:50:20.270
So begin by using more medium added to the paint.
2247
01:50:22.200 --> 01:50:24.180
So you're working with thinner layers.
2248
01:50:24.180 --> 01:50:25.770
Then as you build up more confidence
2249
01:50:25.770 --> 01:50:28.050
in knowing the placement of the skin tone,
2250
01:50:28.050 --> 01:50:30.048
you can add thicker paint on top.
2251
01:50:30.048 --> 01:50:32.580
Otherwise if you're going straight in with thick paint,
2252
01:50:32.580 --> 01:50:34.740
it's gonna be hard, if you make a mistake.
2253
01:50:34.740 --> 01:50:36.090
Otherwise you just have to scrape off
2254
01:50:36.090 --> 01:50:37.828
the paint and begin again.
2255
01:50:37.828 --> 01:50:42.186
Also, in addition to just sticking with those big shapes,
2256
01:50:42.186 --> 01:50:44.610
work in one area at a time.
2257
01:50:44.610 --> 01:50:46.260
So it's very tempting to jump
2258
01:50:46.260 --> 01:50:49.007
from one part of the face to the next thinking that,
2259
01:50:49.007 --> 01:50:51.030
you know, the value or the colour
2260
01:50:51.030 --> 01:50:52.980
that you're adding to the cheekbone
2261
01:50:52.980 --> 01:50:55.380
is the same as the highlight on the nose.
2262
01:50:55.380 --> 01:50:57.330
But because our eye plays tricks on us,
2263
01:50:57.330 --> 01:51:00.536
we think that there is similarities and they're the same,
2264
01:51:00.536 --> 01:51:03.450
but there's a lot of difference
2265
01:51:03.450 --> 01:51:05.040
between what might be on
2266
01:51:05.040 --> 01:51:06.600
one part of the face to the other.
2267
01:51:06.600 --> 01:51:08.580
So the best advice that I have
2268
01:51:08.580 --> 01:51:11.610
stick to one area and work out,
2269
01:51:11.610 --> 01:51:13.440
kind of expand out of that area,
2270
01:51:13.440 --> 01:51:15.940
closing in on the nose and the eyes and the mouth.
2271
01:51:17.010 --> 01:51:20.940
Okay, so I'm going to get started
2272
01:51:20.940 --> 01:51:23.910
on this picture and we can ask some questions
2273
01:51:23.910 --> 01:51:26.493
as we go and I'll talk through my process as well.
2274
01:51:31.350 --> 01:51:33.886
It's really worth spending all that time.
2275
01:51:33.886 --> 01:51:35.880
That's not my medium,
2276
01:51:35.880 --> 01:51:40.110
at the start doing all that work on mixing those skin tones
2277
01:51:40.110 --> 01:51:43.050
because then the process of painting
2278
01:51:43.050 --> 01:51:44.643
goes much more smoothly.
2279
01:51:45.756 --> 01:51:47.460
So, you know,
2280
01:51:47.460 --> 01:51:50.220
you can spend all that time
2281
01:51:50.220 --> 01:51:52.380
and then you've kind of got
2282
01:51:52.380 --> 01:51:54.137
the luxury then laid out for you.
2283
01:51:54.137 --> 01:51:57.570
You don't have to worry about mixing up anything new.
2284
01:51:57.570 --> 01:52:02.400
I'm going to begin on the cheekbone
2285
01:52:02.400 --> 01:52:05.845
that is on the left side of the portrait.
2286
01:52:05.845 --> 01:52:08.127
Which is the brightest value.
2287
01:52:08.127 --> 01:52:09.810
And so thinking through it logically
2288
01:52:09.810 --> 01:52:12.840
because we're working on a part of the face,
2289
01:52:12.840 --> 01:52:15.584
that is a high point and it is
2290
01:52:15.584 --> 01:52:19.590
there's more bone than blood in terms of,
2291
01:52:19.590 --> 01:52:24.333
it's not like this bright cheek that's blushing.
2292
01:52:26.220 --> 01:52:29.310
I'm gonna work from the brightest value from my top row,
2293
01:52:29.310 --> 01:52:30.933
which is the cool orange.
2294
01:52:32.340 --> 01:52:33.840
And as I predicted,
2295
01:52:33.840 --> 01:52:35.540
I need it to be even brighter than what I mixed.
2296
01:52:35.540 --> 01:52:37.680
So I'm making a brighter one as well
2297
01:52:37.680 --> 01:52:40.710
by just mixing up some more white
2298
01:52:40.710 --> 01:52:42.333
into that brightest value.
2299
01:52:59.945 --> 01:53:02.370
I'm not really practising what I preach here,
2300
01:53:02.370 --> 01:53:05.987
but a good little tip as well is
2301
01:53:05.987 --> 01:53:09.254
start with a bigger brush then a teeny tiny brush.
2302
01:53:09.254 --> 01:53:13.860
So for example, a little brush might be like a,
2303
01:53:13.860 --> 01:53:15.930
a number one or a 0.5,
2304
01:53:15.930 --> 01:53:20.099
but a wedge brush is probably something good to start with
2305
01:53:20.099 --> 01:53:23.673
because it can make you think in shape as opposed to line.
2306
01:53:37.185 --> 01:53:41.670
And so rather than jumping from the highlight on the cheek
2307
01:53:41.670 --> 01:53:44.160
to another part of the face that has a highlight as well,
2308
01:53:44.160 --> 01:53:46.620
I'm just gonna, I'm forcing myself to just sit
2309
01:53:46.620 --> 01:53:48.513
with this area for now.
2310
01:54:15.090 --> 01:54:19.350
And yeah, painting and shape as opposed to painting in line.
2311
01:54:19.350 --> 01:54:20.610
I guess that's the main difference
2312
01:54:20.610 --> 01:54:22.950
between drawing and painting is in
2313
01:54:22.950 --> 01:54:25.530
in drawing you're typically, unless you're working
2314
01:54:25.530 --> 01:54:26.520
with something like charcoal
2315
01:54:26.520 --> 01:54:28.995
that really forces you to look for shape,
2316
01:54:28.995 --> 01:54:32.103
there's more of an emphasis online as opposed to,
2317
01:54:33.420 --> 01:54:34.713
as opposed to shape.
2318
01:54:37.410 --> 01:54:39.450
Whereas with painting, it's really important
2319
01:54:39.450 --> 01:54:41.883
to look for those shapes of value and colour.
2320
01:55:16.270 --> 01:55:19.343
This is one of the things that we,
2321
01:55:19.343 --> 01:55:21.630
we couldn't pre-think about really
2322
01:55:21.630 --> 01:55:23.552
when it came to camera angles was this
2323
01:55:23.552 --> 01:55:26.160
idea of the fact that the mixing
2324
01:55:26.160 --> 01:55:27.660
of the paint was so important.
2325
01:55:27.660 --> 01:55:28.620
And everybody's gonna wanna see
2326
01:55:28.620 --> 01:55:30.060
that at the same time as you painting.
2327
01:55:30.060 --> 01:55:31.860
So we've got two separate camera angles
2328
01:55:31.860 --> 01:55:36.810
that we're sort of hectares madly cutting between the two.
2329
01:55:36.810 --> 01:55:38.922
So hopefully that people are getting that
2330
01:55:38.922 --> 01:55:42.450
sense of how the paint is going onto your brush,
2331
01:55:42.450 --> 01:55:45.183
but then it's also being laid onto the canvas.
2332
01:55:48.570 --> 01:55:50.940
Yeah, and I usually find it's the first,
2333
01:55:50.940 --> 01:55:55.691
like 10, 15 minutes of a painting that I'm also still,
2334
01:55:55.691 --> 01:55:57.867
there's a difference between mixing up the paint
2335
01:55:57.867 --> 01:56:01.170
and then transferring onto the canvas.
2336
01:56:01.170 --> 01:56:03.690
So the first 10, 15 minutes,
2337
01:56:03.690 --> 01:56:06.600
I'm still also mixing in between all the colours
2338
01:56:06.600 --> 01:56:10.091
that I've mixed you know, previously,
2339
01:56:10.091 --> 01:56:12.480
but once I get into that flow.
2340
01:56:12.480 --> 01:56:15.873
It goes much more quickly.
2341
01:57:13.890 --> 01:57:18.300
I always find that the cheekbone,
2342
01:57:18.300 --> 01:57:21.360
which tends to be the brightest part of the face,
2343
01:57:21.360 --> 01:57:23.520
just because it's generally the way
2344
01:57:23.520 --> 01:57:26.520
that I angle my models is I get them to
2345
01:57:26.520 --> 01:57:27.900
have a three quarter pose
2346
01:57:27.900 --> 01:57:31.200
where they're looking turn slightly away from the camera,
2347
01:57:31.200 --> 01:57:34.048
with the light hitting that part of the face.
2348
01:57:34.048 --> 01:57:36.330
So that the cheek bone
2349
01:57:36.330 --> 01:57:39.000
is really where they're reflecting a lot of light.
2350
01:57:39.000 --> 01:57:41.220
And I always find I need to kind of keep
2351
01:57:41.220 --> 01:57:44.860
building the paint up in that area to get it really bright,
2352
01:57:44.860 --> 01:57:49.860
which I actually don't mind kind of returning to that
2353
01:57:49.920 --> 01:57:53.430
because it actually works quite nicely
2354
01:57:53.430 --> 01:57:57.570
to have parts of the face that are in highlight
2355
01:57:57.570 --> 01:57:59.570
where the paint is a little bit thicker.
2356
01:58:03.330 --> 01:58:06.510
If you think, you know, thicker paint is kind of
2357
01:58:06.510 --> 01:58:08.400
gonna give the illusion that it's reflecting
2358
01:58:08.400 --> 01:58:10.033
because there's texture to it.
2359
02:00:11.370 --> 02:00:15.790
So even though we've spent all that time mixing paints
2360
02:00:17.400 --> 02:00:20.625
and until you actually get into the painting as well,
2361
02:00:20.625 --> 02:00:23.010
there'll be certain colours
2362
02:00:23.010 --> 02:00:25.050
that you find that you need, that you haven't mixed up.
2363
02:00:25.050 --> 02:00:27.360
So I'm just going in under her eye
2364
02:00:27.360 --> 02:00:29.190
and I'm noticing that
2365
02:00:29.190 --> 02:00:31.143
it needs to be a little bit more bluey,
2366
02:00:32.010 --> 02:00:34.470
bluey brown purple than what I've mixed up.
2367
02:00:34.470 --> 02:00:38.310
So I've just mixed in a little bit more blue
2368
02:00:38.310 --> 02:00:39.843
into one of my browns.
2369
02:00:42.210 --> 02:00:46.083
And then also just diluted that a bit with some purple.
2370
02:01:00.870 --> 02:01:03.630
Mel, do you always work from photo references
2371
02:01:03.630 --> 02:01:06.510
or do you sometimes work from life as well?
2372
02:01:06.510 --> 02:01:07.560
I do a bit of both.
2373
02:01:07.560 --> 02:01:11.040
So I'm currently working on a portrait
2374
02:01:11.040 --> 02:01:13.950
for the chief justice for the Supreme court
2375
02:01:13.950 --> 02:01:15.810
in Australia, in Western Australia.
2376
02:01:15.810 --> 02:01:16.740
Oh, how exciting.
2377
02:01:16.740 --> 02:01:17.760
Very exciting.
2378
02:01:17.760 --> 02:01:20.220
But obviously he's not available
2379
02:01:20.220 --> 02:01:23.315
to sit in my studio for eight hours a day.
2380
02:01:23.315 --> 02:01:25.024
So for for him,
2381
02:01:25.024 --> 02:01:27.720
I got him to come in a couple of times
2382
02:01:27.720 --> 02:01:29.811
and we did a few sittings in person.
2383
02:01:29.811 --> 02:01:32.803
And that's also just because I don't know him
2384
02:01:32.803 --> 02:01:36.060
in the same way that I know, you know,
2385
02:01:36.060 --> 02:01:38.115
a friend or someone that I might paint
2386
02:01:38.115 --> 02:01:40.800
from live or from a photo.
2387
02:01:40.800 --> 02:01:43.320
So I find that it's important
2388
02:01:43.320 --> 02:01:45.000
that I have that one-on-one interaction
2389
02:01:45.000 --> 02:01:47.340
to be able to get to know them.
2390
02:01:47.340 --> 02:01:48.810
And even just things like
2391
02:01:48.810 --> 02:01:50.250
talking and having a conversation,
2392
02:01:50.250 --> 02:01:53.220
you learn about the way that their mouth work
2393
02:01:53.220 --> 02:01:55.290
mouth moves and their muscles in their face
2394
02:01:55.290 --> 02:01:57.450
move when they speak or interact.
2395
02:01:57.450 --> 02:02:00.420
So you only get certain information
2396
02:02:00.420 --> 02:02:02.456
from a photo that being said.
2397
02:02:02.456 --> 02:02:05.460
I love photos as a reference.
2398
02:02:05.460 --> 02:02:08.508
I'm not opposed to photos at all.
2399
02:02:08.508 --> 02:02:10.118
I'm relying on images
2400
02:02:10.118 --> 02:02:15.118
that I took of him to be able to complete the portrait.
2401
02:02:15.419 --> 02:02:16.941
But that being said,
2402
02:02:16.941 --> 02:02:20.490
I also rely on the fact that I've met him
2403
02:02:20.490 --> 02:02:22.320
and spoken with him to be able
2404
02:02:22.320 --> 02:02:24.600
to get something that is lifelike and accurate.
2405
02:02:24.600 --> 02:02:28.920
So that's also the reason why I kind of shy away
2406
02:02:28.920 --> 02:02:30.720
from commissions where I'm not allowed,
2407
02:02:30.720 --> 02:02:32.400
or they don't want me to meet the person.
2408
02:02:32.400 --> 02:02:34.230
So if someone's passed away,
2409
02:02:34.230 --> 02:02:38.040
so I literally physically can't meet the subject
2410
02:02:38.040 --> 02:02:41.820
or if it's a surprise birthday gift or something,
2411
02:02:41.820 --> 02:02:44.370
and they don't want to know that I'm painting them.
2412
02:02:44.370 --> 02:02:48.810
I typically don't like doing those kind of commissions,
2413
02:02:48.810 --> 02:02:51.330
'cause I do think it's important to meet someone in person
2414
02:02:51.330 --> 02:02:52.380
before painting them.
2415
02:03:03.181 --> 02:03:05.340
We should say this reference
2416
02:03:05.340 --> 02:03:07.740
photograph is a friend of yours, isn't she?
2417
02:03:07.740 --> 02:03:10.171
Yes, so actually Micca,
2418
02:03:10.171 --> 02:03:13.990
who is the lady that I'm painting
2419
02:03:15.000 --> 02:03:17.034
is a great artist herself.
2420
02:03:17.034 --> 02:03:19.710
She is called Micca's Art,
2421
02:03:19.710 --> 02:03:24.120
M-I-C-C-A art on Instagram.
2422
02:03:24.120 --> 02:03:26.820
She just is kind of like a surrealist artist.
2423
02:03:26.820 --> 02:03:30.520
She does amazing kind of almost hyper real
2424
02:03:31.380 --> 02:03:36.380
caricatures and dreamlike landscapes from her mind.
2425
02:03:37.072 --> 02:03:39.720
But I wanted to use her as a subject
2426
02:03:39.720 --> 02:03:42.660
because I knew that she would know
2427
02:03:42.660 --> 02:03:44.650
what I was looking for when it comes to
2428
02:03:45.960 --> 02:03:49.050
finding an appropriate image.
2429
02:03:49.050 --> 02:03:52.410
So, you know, she's aware
2430
02:03:52.410 --> 02:03:54.450
that I would need a certain angle,
2431
02:03:54.450 --> 02:03:56.430
for example, in certain lighting
2432
02:03:56.430 --> 02:03:59.673
and being able to get that was important.
2433
02:03:59.673 --> 02:04:01.680
But definitely check out her work,
2434
02:04:01.680 --> 02:04:03.090
if you're looking for other artists,
2435
02:04:03.090 --> 02:04:06.303
especially Australian artists to follow.
2436
02:05:00.435 --> 02:05:04.380
So I'm not going into the details of the eye yet,
2437
02:05:04.380 --> 02:05:07.110
but I am just shaping around the eyelid
2438
02:05:07.110 --> 02:05:09.870
or the space between the top of the eye
2439
02:05:09.870 --> 02:05:11.910
and the bottom of the brow.
2440
02:05:11.910 --> 02:05:13.860
I actually find that this is one of my favourite parts
2441
02:05:13.860 --> 02:05:14.910
of the face to work on.
2442
02:05:14.910 --> 02:05:15.843
I just think it's,
2443
02:05:17.850 --> 02:05:19.350
there's so many different shadows
2444
02:05:19.350 --> 02:05:21.137
and things going on there
2445
02:05:21.137 --> 02:05:24.780
that it's I always find it quite satisfying
2446
02:05:24.780 --> 02:05:26.970
to sculpt this part of the face out,
2447
02:05:26.970 --> 02:05:29.301
but I'm still saving those little details
2448
02:05:29.301 --> 02:05:32.193
for towards the end of the portrait.
2449
02:05:34.230 --> 02:05:37.650
In terms of that, the iris,
2450
02:05:37.650 --> 02:05:40.623
the individual hairs of the eye eyelashes,
2451
02:05:41.580 --> 02:05:43.923
the pupil that will come later.
2452
02:05:48.240 --> 02:05:49.230
Gay is despairing
2453
02:05:49.230 --> 02:05:51.150
that her colour swatches are all too orange
2454
02:05:51.150 --> 02:05:53.460
and she thinks she'll have to start all over again.
2455
02:05:53.460 --> 02:05:54.448
No, not at all.
2456
02:05:54.448 --> 02:05:58.605
If obviously half if all of it is very orange,
2457
02:05:58.605 --> 02:06:01.471
then half of it is still usable.
2458
02:06:01.471 --> 02:06:06.060
Sometimes just adding a little bit more yellow
2459
02:06:06.060 --> 02:06:08.945
to the other colours is enough to just tint it.
2460
02:06:08.945 --> 02:06:13.890
If also if that's the case of the actual painting itself,
2461
02:06:13.890 --> 02:06:16.611
if the whole painting is starting to look too orange,
2462
02:06:16.611 --> 02:06:19.530
it's probably because another part
2463
02:06:19.530 --> 02:06:21.164
of the face needs more pink.
2464
02:06:21.164 --> 02:06:26.164
So I started with my more yellowy tones,
2465
02:06:27.120 --> 02:06:32.120
but I kind of reasonably quickly moved towards the cheek
2466
02:06:32.365 --> 02:06:35.095
that is under the eye because there's more pink there.
2467
02:06:35.095 --> 02:06:37.440
And so, because I've got that contrast
2468
02:06:37.440 --> 02:06:41.280
in between orange and or yellowy oranges and pinks
2469
02:06:41.280 --> 02:06:44.012
quite early on, it's starting to balance it out.
2470
02:06:44.012 --> 02:06:45.996
So it's really is all about balance
2471
02:06:45.996 --> 02:06:48.704
and it doesn't take much at all
2472
02:06:48.704 --> 02:06:51.540
to shift the pigments that you've got.
2473
02:06:51.540 --> 02:06:54.032
So if it's starting to feel a little bit too orange,
2474
02:06:54.032 --> 02:06:55.982
just add a little bit more yellow
2475
02:06:55.982 --> 02:06:58.369
into the colours that you've mixed in and that
2476
02:06:58.369 --> 02:07:00.960
will be enough to just quickly shift it back
2477
02:07:00.960 --> 02:07:02.160
to where it needs to be.
2478
02:07:05.100 --> 02:07:06.690
And on Facebook has asked
2479
02:07:06.690 --> 02:07:08.940
how many layers of oil paint you do
2480
02:07:08.940 --> 02:07:11.363
when painting a studio portrait.
2481
02:07:11.363 --> 02:07:15.283
Probably minimum four or five.
2482
02:07:15.283 --> 02:07:19.655
So the first, if that counts the very first layer,
2483
02:07:19.655 --> 02:07:24.655
typically I would do a sketch at the start
2484
02:07:25.470 --> 02:07:27.930
and I wouldn't use transfer paper
2485
02:07:27.930 --> 02:07:30.690
like I have this time I would sit down
2486
02:07:30.690 --> 02:07:33.346
and more methodically go through
2487
02:07:33.346 --> 02:07:37.350
sketching usually with charcoal or drawing on,
2488
02:07:37.350 --> 02:07:38.790
and then I'll set that.
2489
02:07:38.790 --> 02:07:41.310
And then, so I don't know if that would count as a layer,
2490
02:07:41.310 --> 02:07:43.530
but that's kind of my first sketch.
2491
02:07:43.530 --> 02:07:46.183
Then I would go in with acrylic paint
2492
02:07:46.183 --> 02:07:51.183
and I use this as kind of sketch number two,
2493
02:07:51.545 --> 02:07:55.145
but it's in acrylic as opposed to oil.
2494
02:07:55.145 --> 02:07:58.893
And I teach this in my Verdaccio workshop
2495
02:07:58.893 --> 02:08:01.560
before we even get into doing green.
2496
02:08:01.560 --> 02:08:04.500
I get everybody to do a painting in acrylic.
2497
02:08:04.500 --> 02:08:07.560
And I word this in a way of
2498
02:08:07.560 --> 02:08:09.930
it's almost like it's a warmup
2499
02:08:09.930 --> 02:08:12.347
in the same way that athletes warm up.
2500
02:08:12.347 --> 02:08:14.099
I feel like as painters,
2501
02:08:14.099 --> 02:08:16.337
we also need to warm up before we start
2502
02:08:16.337 --> 02:08:18.331
painting with something like oils,
2503
02:08:18.331 --> 02:08:23.331
which is quite a difficult medium to work with if you
2504
02:08:24.311 --> 02:08:27.780
immediately step off on the wrong foot.
2505
02:08:27.780 --> 02:08:30.450
So if I'm working on a studio portrait,
2506
02:08:30.450 --> 02:08:32.052
that's quite important,
2507
02:08:32.052 --> 02:08:33.270
I'll start with an acrylic sketch
2508
02:08:33.270 --> 02:08:35.220
where I'm working out values.
2509
02:08:35.220 --> 02:08:36.330
That's still just working
2510
02:08:36.330 --> 02:08:38.293
in lights and darks not colour yet.
2511
02:08:38.293 --> 02:08:41.370
And then once I've done that,
2512
02:08:41.370 --> 02:08:42.750
and that will usually take me
2513
02:08:42.750 --> 02:08:46.118
maybe a day I'll then do my Verdaccio under painting.
2514
02:08:46.118 --> 02:08:50.310
And that will, depending on how much detail I want,
2515
02:08:50.310 --> 02:08:51.840
that could take up to a week
2516
02:08:51.840 --> 02:08:54.978
to get that Verdaccio painting under painting complete.
2517
02:08:54.978 --> 02:08:59.978
Once that's finished, I then go over in colour,
2518
02:09:00.330 --> 02:09:01.590
which is what we're doing now.
2519
02:09:01.590 --> 02:09:04.860
So I'll go over with the same amount of detail,
2520
02:09:04.860 --> 02:09:08.700
but with in colour, it's not gonna be ultra detailed yet.
2521
02:09:08.700 --> 02:09:10.710
It's more just tinting it away from green,
2522
02:09:10.710 --> 02:09:13.301
back into natural skin tone.
2523
02:09:13.301 --> 02:09:18.301
And then, so that would be layer number three,
2524
02:09:18.377 --> 02:09:22.764
then the fourth and fifth layers is,
2525
02:09:22.764 --> 02:09:24.600
would be my glazing layer.
2526
02:09:24.600 --> 02:09:26.850
So that's when I use liquin.
2527
02:09:26.850 --> 02:09:31.178
Which is a really nice, almost gel-like medium.
2528
02:09:31.178 --> 02:09:36.178
And it almost starts to give this glossy effect
2529
02:09:36.596 --> 02:09:39.330
and I go over the painting
2530
02:09:39.330 --> 02:09:42.090
and that's when I start getting more of those details in.
2531
02:09:42.090 --> 02:09:47.090
So working out, you know, little pores or of the skin,
2532
02:09:48.810 --> 02:09:50.547
little flex of light
2533
02:09:50.547 --> 02:09:54.993
individual hairs in the brows, for example.
2534
02:09:57.060 --> 02:09:59.883
So yeah, usually minimum four layers.
2535
02:10:06.090 --> 02:10:08.010
I used to paint like a printer,
2536
02:10:08.010 --> 02:10:09.919
you know, where you've got
2537
02:10:09.919 --> 02:10:11.327
like a tiny little brush
2538
02:10:11.327 --> 02:10:14.040
and you wrote, do it section by section or line by line.
2539
02:10:14.040 --> 02:10:18.390
And that was my process for, you know, a long time,
2540
02:10:18.390 --> 02:10:21.690
because again, never being classically trained,
2541
02:10:21.690 --> 02:10:23.910
I was just kind of logically going through it and thinking,
2542
02:10:23.910 --> 02:10:26.597
how do I create portrait or just
2543
02:10:26.597 --> 02:10:29.700
approach it piece by piece with this little brush.
2544
02:10:29.700 --> 02:10:32.610
Then I started getting very tired of that
2545
02:10:32.610 --> 02:10:36.810
and that pressure of wanting things
2546
02:10:36.810 --> 02:10:39.120
to look perfect straight away.
2547
02:10:39.120 --> 02:10:40.590
Now I'm the complete opposite.
2548
02:10:40.590 --> 02:10:45.300
I work section by section through layers
2549
02:10:45.300 --> 02:10:47.490
and I build up more and more detail as I go,
2550
02:10:47.490 --> 02:10:50.240
as opposed to trying to get that perfect straight away.
2551
02:11:14.785 --> 02:11:16.770
Kelly's wondering how long it takes
2552
02:11:16.770 --> 02:11:18.213
to do a complete portrait.
2553
02:11:19.406 --> 02:11:21.963
It changes, so I guess it depends
2554
02:11:21.963 --> 02:11:24.480
on what you consider a portrait as well.
2555
02:11:24.480 --> 02:11:26.460
So something like this,
2556
02:11:26.460 --> 02:11:31.460
I like to do in between one to two hours.
2557
02:11:31.860 --> 02:11:35.880
So if we've got an hour this afternoon,
2558
02:11:35.880 --> 02:11:37.680
realistically, I could get this done
2559
02:11:38.610 --> 02:11:42.521
to a point that it's gonna be a sketch and an exercise.
2560
02:11:42.521 --> 02:11:46.290
But in terms of my commission, I've,
2561
02:11:46.290 --> 02:11:47.710
for example, I've quoted
2562
02:11:48.960 --> 02:11:51.150
the Supreme court four months,
2563
02:11:51.150 --> 02:11:54.300
four to six months really to get something like that done,
2564
02:11:54.300 --> 02:11:58.057
but that is my prime priority at the moment.
2565
02:11:58.057 --> 02:12:01.350
So I'm not really working on an
2566
02:12:01.350 --> 02:12:03.900
awful lot of other jobs while I'm working on that,
2567
02:12:03.900 --> 02:12:08.160
but kind of a couple of months.
2568
02:12:08.160 --> 02:12:10.413
And it's I mean, that's a huge job.
2569
02:12:10.413 --> 02:12:15.413
It's got a lot of detail and it's quite a large picture.
2570
02:12:15.510 --> 02:12:18.333
So something smaller might only take me half that time.
2571
02:12:19.860 --> 02:12:21.090
And I think it's also funny
2572
02:12:21.090 --> 02:12:24.810
that you spend just as much time
2573
02:12:24.810 --> 02:12:25.980
thinking about the portrait
2574
02:12:25.980 --> 02:12:29.160
and staring at it as you do painting it maybe more.
2575
02:12:29.160 --> 02:12:31.110
And I still kind of consider that work
2576
02:12:31.110 --> 02:12:32.860
'cause you're still working it out.
2577
02:12:35.141 --> 02:12:38.823
So that's always a bit of a tricky question to answer.
2578
02:12:39.960 --> 02:12:41.820
Yes, how long is a piece of string?
2579
02:12:41.820 --> 02:12:42.670
Yeah.
2580
02:12:47.670 --> 02:12:49.800
So nice to see so many
2581
02:12:49.800 --> 02:12:53.163
faces up on our big screen busily creating.
2582
02:13:21.360 --> 02:13:23.253
You've got a fan in, Shannon Taylor.
2583
02:13:24.210 --> 02:13:26.220
Oh, hi Shannon.
2584
02:13:26.220 --> 02:13:27.760
She's an old school friend of mine.
2585
02:13:27.760 --> 02:13:29.970
She's very proud of you.
2586
02:13:29.970 --> 02:13:31.403
Thank you, Shannon.
2587
02:13:49.055 --> 02:13:50.760
Nick's asked,
2588
02:13:50.760 --> 02:13:52.980
how did you find entering portrait competitions
2589
02:13:52.980 --> 02:13:54.093
for the first time.
2590
02:13:56.190 --> 02:13:59.040
As in what's the experience been like or.
2591
02:13:59.040 --> 02:14:00.150
I think so.
2592
02:14:00.150 --> 02:14:04.968
Yeah, I've actually been kind of
2593
02:14:04.968 --> 02:14:07.830
a fan of portrait prizes for a long time.
2594
02:14:07.830 --> 02:14:10.260
So I'm 23 now,
2595
02:14:10.260 --> 02:14:11.940
but I think I entered my first one
2596
02:14:11.940 --> 02:14:13.140
when I was maybe like 13
2597
02:14:15.210 --> 02:14:17.760
and that was the lesser prize in Perth,
2598
02:14:17.760 --> 02:14:20.820
but through obviously their youth prize
2599
02:14:20.820 --> 02:14:23.460
and I was very excited.
2600
02:14:23.460 --> 02:14:26.460
I got into the youth prize and then from there I ended,
2601
02:14:26.460 --> 02:14:28.530
ended up entering every year and I think
2602
02:14:28.530 --> 02:14:32.550
I got in every year up until I was 18.
2603
02:14:32.550 --> 02:14:34.230
And then I think I was a little bit cocky
2604
02:14:34.230 --> 02:14:35.063
and thought, oh yeah,
2605
02:14:35.063 --> 02:14:36.330
I'm gonna get in the first year
2606
02:14:36.330 --> 02:14:38.280
of being an adult when I'm 18,
2607
02:14:38.280 --> 02:14:40.843
but it took me a good few goes,
2608
02:14:40.843 --> 02:14:43.050
obviously like the standard
2609
02:14:43.050 --> 02:14:45.780
and also the pool of people that you're against.
2610
02:14:45.780 --> 02:14:47.310
And it's not even a reflection
2611
02:14:47.310 --> 02:14:49.703
on the standard of the work, but it's about,
2612
02:14:49.703 --> 02:14:53.713
you know, having the right group of judges
2613
02:14:53.713 --> 02:14:56.192
as well as, you know,
2614
02:14:56.192 --> 02:15:00.450
being able to work with something
2615
02:15:00.450 --> 02:15:03.870
that is maybe relevant to the time period
2616
02:15:03.870 --> 02:15:04.710
that you're working with.
2617
02:15:04.710 --> 02:15:07.143
So it's all, you know, it,
2618
02:15:08.040 --> 02:15:09.900
prizes are tricky in the sense that
2619
02:15:09.900 --> 02:15:12.360
there's not one right way of,
2620
02:15:12.360 --> 02:15:14.220
or a rule about how you can get in.
2621
02:15:14.220 --> 02:15:16.290
You just have to keep trying.
2622
02:15:16.290 --> 02:15:19.890
So I think I entered the Lester three times.
2623
02:15:19.890 --> 02:15:24.207
I managed to become semi-finalist three or
2624
02:15:24.207 --> 02:15:26.756
yeah, I think two or three times in that time,
2625
02:15:26.756 --> 02:15:29.340
but I never got into the main prize.
2626
02:15:29.340 --> 02:15:32.818
Last year I finally got into the main prize of the Lester
2627
02:15:32.818 --> 02:15:35.460
and then entered the Darling
2628
02:15:35.460 --> 02:15:38.070
because I saw a friend had entered
2629
02:15:38.070 --> 02:15:41.190
the Darling Prize in the first year.
2630
02:15:41.190 --> 02:15:44.036
And at that point I missed that deadline,
2631
02:15:44.036 --> 02:15:46.645
but yeah, it's just,
2632
02:15:46.645 --> 02:15:48.570
it's one of those things that I,
2633
02:15:48.570 --> 02:15:51.000
I will always enter, but,
2634
02:15:51.000 --> 02:15:52.967
and if you get in, it's an amazing,
2635
02:15:52.967 --> 02:15:55.320
amazing privilege and amazing bonus
2636
02:15:55.320 --> 02:15:58.950
to your career and you've got to enjoy it
2637
02:15:58.950 --> 02:16:00.000
and then make the most of it.
2638
02:16:00.000 --> 02:16:02.730
But you also can't put all of your
2639
02:16:02.730 --> 02:16:05.463
kind of self worth into prizes.
2640
02:16:17.310 --> 02:16:19.950
I know that it's tricky for artists to spend,
2641
02:16:19.950 --> 02:16:23.370
you know, months and months working on pictures,
2642
02:16:23.370 --> 02:16:25.920
hoping that they'll become a finalist.
2643
02:16:25.920 --> 02:16:27.510
But if there was a different set of judges
2644
02:16:27.510 --> 02:16:30.450
on a different day that might get in.
2645
02:16:30.450 --> 02:16:31.890
Or it might not.
2646
02:16:31.890 --> 02:16:33.600
We definitely see those variations
2647
02:16:33.600 --> 02:16:35.160
in the exhibits over the years
2648
02:16:35.160 --> 02:16:36.870
from our Darling Portrait Prize
2649
02:16:36.870 --> 02:16:38.610
and our National Photographic Portrait Prize,
2650
02:16:38.610 --> 02:16:41.010
there are definite elements that come in
2651
02:16:41.010 --> 02:16:43.435
and that's the reason we change our judges
2652
02:16:43.435 --> 02:16:46.110
each year as well for those prizes,
2653
02:16:46.110 --> 02:16:48.313
because it brings in that variety
2654
02:16:48.313 --> 02:16:50.403
makes it a little bit less predictable.
2655
02:16:51.240 --> 02:16:52.413
Yeah, exactly.
2656
02:16:53.610 --> 02:16:54.930
And the thing that I absolutely love
2657
02:16:54.930 --> 02:16:56.433
about the Darling Prize,
2658
02:16:57.968 --> 02:17:01.620
which is why I'm so excited and pleased
2659
02:17:01.620 --> 02:17:04.128
to be involved is the fact that
2660
02:17:04.128 --> 02:17:07.500
I've, in my experience since being involved,
2661
02:17:07.500 --> 02:17:09.870
there's been such an emphasis on
2662
02:17:09.870 --> 02:17:12.090
the artist and the story of the subject,
2663
02:17:12.090 --> 02:17:15.240
as opposed to say the celebrity status
2664
02:17:15.240 --> 02:17:17.553
of the subject or the,
2665
02:17:18.690 --> 02:17:20.520
or the celebrity status of the artist.
2666
02:17:20.520 --> 02:17:24.807
So a bit of a theme with all of the,
2667
02:17:24.807 --> 02:17:26.675
the subjects that I've noticed is that
2668
02:17:26.675 --> 02:17:30.180
they seem to be personal friends or mentors,
2669
02:17:30.180 --> 02:17:35.130
or just ordinary people, but with extraordinary stories.
2670
02:17:35.130 --> 02:17:38.040
And that makes it such an accessible prize
2671
02:17:38.040 --> 02:17:38.910
for so many people.
2672
02:17:38.910 --> 02:17:41.070
Because, you know, I think,
2673
02:17:41.070 --> 02:17:42.480
I can't remember the name of the artist,
2674
02:17:42.480 --> 02:17:43.680
which is a shame, but hope,
2675
02:17:43.680 --> 02:17:46.440
maybe someone can find who the artist is.
2676
02:17:46.440 --> 02:17:47.970
But one of the pictures that I love
2677
02:17:47.970 --> 02:17:52.230
in the prize is of their postman.
2678
02:17:52.230 --> 02:17:56.067
You know, the picture of the postman or the post lady.
2679
02:17:56.067 --> 02:17:59.220
Tony Salsby.
Tony Salsby.
2680
02:17:59.220 --> 02:18:00.150
Yeah I Love that work.
2681
02:18:00.150 --> 02:18:02.673
I never got to meet Tony though, unfortunately.
2682
02:18:04.980 --> 02:18:06.000
We met him at the launch.
2683
02:18:06.000 --> 02:18:07.020
He's a real character.
2684
02:18:07.020 --> 02:18:09.870
He speaks really well about that work too.
2685
02:18:09.870 --> 02:18:11.505
Yeah, oh no I did meet him, yes.
2686
02:18:11.505 --> 02:18:13.230
I met so many people that night.
2687
02:18:13.230 --> 02:18:15.330
It's been a bit of a whirlwind
2688
02:18:15.330 --> 02:18:16.163
and you always think,
2689
02:18:16.163 --> 02:18:19.440
did I meet you or have I met your subject?
2690
02:18:19.440 --> 02:18:21.090
And sometimes you'll be walking through the gallery
2691
02:18:21.090 --> 02:18:22.050
and you'll see the subject
2692
02:18:22.050 --> 02:18:23.910
and you'll recognise them and you think,
2693
02:18:23.910 --> 02:18:24.743
oh my gosh it's you.
2694
02:18:24.743 --> 02:18:25.920
We love freaking people out
2695
02:18:25.920 --> 02:18:27.750
by running up to them and saying.
2696
02:18:27.750 --> 02:18:29.940
Oh, hello so and so when they've never met us before,
2697
02:18:29.940 --> 02:18:31.473
but we've just seen their portrait in here
2698
02:18:31.473 --> 02:18:34.053
on the admin side of the prizes.
2699
02:18:35.039 --> 02:18:37.920
And we might get Georgina or Robert
2700
02:18:37.920 --> 02:18:40.170
to drop a link into the Darling Portrait Prize
2701
02:18:40.170 --> 02:18:42.720
into the chats on both channels.
2702
02:18:42.720 --> 02:18:45.180
So that after this finishes,
2703
02:18:45.180 --> 02:18:46.050
you can go and have a look
2704
02:18:46.050 --> 02:18:47.973
at all of the finalists for this year.
2705
02:18:49.285 --> 02:18:51.180
I think it's an important point that you mentioned about
2706
02:18:51.180 --> 02:18:53.610
that personal connection with the subject
2707
02:18:53.610 --> 02:18:55.083
that you're painting as well.
2708
02:18:56.670 --> 02:18:57.594
We often find that
2709
02:18:57.594 --> 02:18:59.670
some of the best portraits that we have
2710
02:18:59.670 --> 02:19:02.100
in the permanent collection at the portrait gallery
2711
02:19:02.100 --> 02:19:04.530
are ones that have that real
2712
02:19:04.530 --> 02:19:07.470
strength of connection between the artist and the sitter.
2713
02:19:07.470 --> 02:19:08.460
Yeah.
2714
02:19:08.460 --> 02:19:09.293
So I suppose it's why
2715
02:19:09.293 --> 02:19:11.340
it's so important that for you to meet
2716
02:19:11.340 --> 02:19:12.840
a person that you're painting.
2717
02:19:13.860 --> 02:19:16.431
Yeah, and I think, you know, as a teenager,
2718
02:19:16.431 --> 02:19:21.133
I spent a lot of time painting, you know, celebrities.
2719
02:19:21.133 --> 02:19:22.980
Like I think the first piece
2720
02:19:22.980 --> 02:19:25.710
that I entered into the Lester Prize was of Heath ledger
2721
02:19:25.710 --> 02:19:27.944
And it's just a photograph that's been replicated.
2722
02:19:27.944 --> 02:19:32.944
And then as an older teenager,
2723
02:19:33.030 --> 02:19:35.963
I started painting friends or drawing friends.
2724
02:19:35.963 --> 02:19:40.669
And then I moved onto a lot of self portraits
2725
02:19:40.669 --> 02:19:43.620
because I think obviously,
2726
02:19:43.620 --> 02:19:46.078
you know yourself better than anybody else.
2727
02:19:46.078 --> 02:19:49.830
But it was a way I was just too scared at that point
2728
02:19:49.830 --> 02:19:52.030
to approach people and say, can I paint you?
2729
02:19:53.220 --> 02:19:54.690
But I did recognise it.
2730
02:19:54.690 --> 02:19:56.460
There's so much more value getting
2731
02:19:56.460 --> 02:19:58.500
that you get out of painting someone that, you know,
2732
02:19:58.500 --> 02:20:00.870
and then I just started thinking, you know,
2733
02:20:00.870 --> 02:20:02.671
it doesn't actually have to be some
2734
02:20:02.671 --> 02:20:05.100
extraordinary person in the sense that,
2735
02:20:05.100 --> 02:20:09.004
you know, they've had this stereotypical,
2736
02:20:09.004 --> 02:20:11.688
made a stereotypical achievements.
2737
02:20:11.688 --> 02:20:14.653
Some of the best portraits that I've paid painted
2738
02:20:14.653 --> 02:20:19.470
are people that might think of themselves as ordinary,
2739
02:20:19.470 --> 02:20:22.020
but in my eyes and in the eyes of everyone
2740
02:20:22.020 --> 02:20:23.984
that speaks them and knows them,
2741
02:20:23.984 --> 02:20:26.859
they have an extraordinary story.
2742
02:20:26.859 --> 02:20:31.830
So I think, yeah the Darling Prize
2743
02:20:31.830 --> 02:20:34.336
has been amazing for that to really highlight
2744
02:20:34.336 --> 02:20:36.330
the fact that we're all worthy
2745
02:20:36.330 --> 02:20:38.343
of being subjects of artworks.
2746
02:20:48.870 --> 02:20:51.660
I haven't really gotten into my shadows yet too much.
2747
02:20:51.660 --> 02:20:53.760
I'm starting to get there
2748
02:20:53.760 --> 02:20:56.403
now as I work around the hairline,
2749
02:20:58.650 --> 02:21:00.150
but I will move into there soon.
2750
02:21:00.150 --> 02:21:01.200
And you'll find as well,
2751
02:21:01.200 --> 02:21:02.970
if you're, depending on what you're working on,
2752
02:21:02.970 --> 02:21:06.027
that once you start adding in that contrast
2753
02:21:06.027 --> 02:21:07.636
with the shadows, that's when
2754
02:21:07.636 --> 02:21:11.823
the structure of the face really starts coming out.
2755
02:21:16.620 --> 02:21:19.110
We have about half an hour to go now.
2756
02:21:19.110 --> 02:21:19.960
Okay.
2757
02:21:25.020 --> 02:21:27.300
Hopefully we might see some creations
2758
02:21:27.300 --> 02:21:29.884
from the people on the screen today
2759
02:21:29.884 --> 02:21:32.310
entering into the Darling Portrait Prize.
2760
02:21:32.310 --> 02:21:33.720
The next time we run it.
2761
02:21:33.720 --> 02:21:34.553
Yeah.
2762
02:21:36.060 --> 02:21:38.970
Well, when I run this workshop yesterday
2763
02:21:38.970 --> 02:21:40.050
at the Portrait Gallery,
2764
02:21:40.050 --> 02:21:44.143
but it was in person and something that
2765
02:21:44.143 --> 02:21:49.143
was awesome is seeing how different everyone's,
2766
02:21:51.146 --> 02:21:53.850
I guess, brush work and style
2767
02:21:53.850 --> 02:21:56.160
is and approach to mark making,
2768
02:21:56.160 --> 02:21:58.798
but they were all painting this same subject,
2769
02:21:58.798 --> 02:22:01.860
but some of the works that people were doing,
2770
02:22:01.860 --> 02:22:02.790
the way that they were handling
2771
02:22:02.790 --> 02:22:04.860
their brushes and making marks,
2772
02:22:04.860 --> 02:22:07.200
I could see some of those in the,
2773
02:22:07.200 --> 02:22:08.670
you know, the Darling Prize.
2774
02:22:08.670 --> 02:22:10.530
If they, you know, all they need to do
2775
02:22:10.530 --> 02:22:12.840
is just keep working on it at home and keep refining it.
2776
02:22:12.840 --> 02:22:14.684
But there's so much potential that I was seeing.
2777
02:22:14.684 --> 02:22:17.760
And it wasn't necessarily
2778
02:22:17.760 --> 02:22:20.400
because they had these amazing hyper real works,
2779
02:22:20.400 --> 02:22:24.300
but there was just character in what they were making.
2780
02:22:24.300 --> 02:22:27.025
And I think that's really important.
2781
02:22:27.025 --> 02:22:32.025
You know, we're not all trying to be the same painter.
2782
02:23:11.595 --> 02:23:14.310
Those of you who have a front facing camera,
2783
02:23:14.310 --> 02:23:16.920
I can see Tamara's got her camera around
2784
02:23:16.920 --> 02:23:19.233
so we can see what she's working on.
2785
02:23:19.233 --> 02:23:21.333
It's coming along really nicely.
2786
02:23:22.231 --> 02:23:24.088
If anyone would like to share
2787
02:23:24.088 --> 02:23:28.056
what they create in the workshop today, please do.
2788
02:23:28.056 --> 02:23:30.008
If you feel comfortable,
2789
02:23:30.008 --> 02:23:33.150
share it on Facebook on the event.
2790
02:23:33.150 --> 02:23:34.873
Otherwise, if you'd like to email
2791
02:23:34.873 --> 02:23:37.680
any of the creations that you've done
2792
02:23:37.680 --> 02:23:41.550
through to us, info@mpg.gov.au
2793
02:23:41.550 --> 02:23:43.254
we always really loved to see
2794
02:23:43.254 --> 02:23:47.577
the creative spirit that comes out of these workshops
2795
02:23:47.577 --> 02:23:49.433
really gives particularly the people
2796
02:23:49.433 --> 02:23:51.180
in our access and learning team
2797
02:23:51.180 --> 02:23:52.410
who work so hard behind the scenes
2798
02:23:52.410 --> 02:23:54.270
to pull these workshops together
2799
02:23:54.270 --> 02:23:55.890
really gives us a big lift.
2800
02:23:55.890 --> 02:23:58.710
We send all the drawings around on Monday morning
2801
02:23:58.710 --> 02:24:01.593
and everybody has a really great time looking at them.
2802
02:24:04.770 --> 02:24:06.840
We'll get Robert might,
2803
02:24:06.840 --> 02:24:08.760
and Georgina might drop that
2804
02:24:08.760 --> 02:24:10.170
email address into the link
2805
02:24:10.170 --> 02:24:12.770
in case people are too shy to share on social media.
2806
02:24:14.430 --> 02:24:15.263
Thank you.
2807
02:24:24.600 --> 02:24:28.950
Is Aha Deborah, and they're weird.
2808
02:24:28.950 --> 02:24:31.290
The harder you look at them, the stranger they get.
2809
02:24:31.290 --> 02:24:32.580
Ears.
2810
02:24:32.580 --> 02:24:35.553
Yeah they're I think they're the one thing that I just,
2811
02:24:36.720 --> 02:24:38.730
I try and not to paint them
2812
02:24:38.730 --> 02:24:40.797
if I can get them tucked behind hair.
2813
02:24:40.797 --> 02:24:44.820
But I do find that if I just,
2814
02:24:44.820 --> 02:24:47.280
I think I just find them boring
2815
02:24:47.280 --> 02:24:49.140
because same with forehead.
2816
02:24:49.140 --> 02:24:51.597
There's not really any expression in ears.
2817
02:24:51.597 --> 02:24:56.280
It's not like a, you know, eyes or a mouth.
2818
02:24:56.280 --> 02:24:57.450
There's not really anything going on.
2819
02:24:57.450 --> 02:24:59.670
They just kind of sat there on the side of their face.
2820
02:24:59.670 --> 02:25:01.380
Even hands like hands are so much more
2821
02:25:01.380 --> 02:25:03.488
interesting than ears.
2822
02:25:03.488 --> 02:25:06.638
So I just have to force myself to just
2823
02:25:06.638 --> 02:25:10.034
get through an ear painting day
2824
02:25:10.034 --> 02:25:13.230
and it's worth it, but it's not
2825
02:25:13.230 --> 02:25:15.780
definitely not my favourite part of a face to paint.
2826
02:25:23.010 --> 02:25:24.090
Evelyn was asking
2827
02:25:24.090 --> 02:25:27.303
if you were going to mention anything about cool half tones.
2828
02:25:28.470 --> 02:25:29.870
Cool half tones.
2829
02:25:31.440 --> 02:25:33.723
I'm not quite sure if I'm familiar with that.
2830
02:25:36.450 --> 02:25:37.980
Me neither.
2831
02:25:37.980 --> 02:25:39.214
Is that like a,
2832
02:25:39.214 --> 02:25:43.427
a kind of a mix between a cool and a warm,
2833
02:25:55.620 --> 02:25:58.520
I often find I learned so much in these workshops as well.
2834
02:26:16.672 --> 02:26:19.590
Oh, coming together nicely.
2835
02:26:19.590 --> 02:26:20.423
Oh, cool.
2836
02:26:21.510 --> 02:26:23.910
Yeah, it's so good to see what everyone's doing.
2837
02:27:42.910 --> 02:27:45.693
When it comes to painting a portrait
2838
02:27:45.693 --> 02:27:46.830
and one of the reasons
2839
02:27:46.830 --> 02:27:49.566
why I like to do this three quarter view
2840
02:27:49.566 --> 02:27:54.566
is to get the angle of the, the jawline in,
2841
02:27:55.590 --> 02:27:57.000
I think that's really important.
2842
02:27:57.000 --> 02:27:58.920
It's one of those angles in a face
2843
02:27:58.920 --> 02:28:00.300
that if you can have a really
2844
02:28:00.300 --> 02:28:03.802
nice clean edge to the jawline,
2845
02:28:03.802 --> 02:28:08.178
not only does it look really interesting and dynamic,
2846
02:28:08.178 --> 02:28:11.786
but it can fix, like, for example,
2847
02:28:11.786 --> 02:28:13.500
if everything else in the face
2848
02:28:13.500 --> 02:28:16.050
is maybe a little bit imprecise
2849
02:28:16.050 --> 02:28:21.050
or if something else in the face is slightly off,
2850
02:28:21.403 --> 02:28:24.360
if you can fix the angle of the draw line,
2851
02:28:24.360 --> 02:28:26.400
it can totally transform and
2852
02:28:26.400 --> 02:28:27.840
alter your painting for the better.
2853
02:28:27.840 --> 02:28:30.630
So oftentimes if I'm working with a student
2854
02:28:30.630 --> 02:28:35.128
and what they're not happy with how something is looking.
2855
02:28:35.128 --> 02:28:38.970
If we adjust the draw line,
2856
02:28:38.970 --> 02:28:43.290
that's immediately transforms their work.
2857
02:28:43.290 --> 02:28:46.045
So if you are feeling like the work is maybe,
2858
02:28:46.045 --> 02:28:49.350
you know, maybe there's a part of the face,
2859
02:28:49.350 --> 02:28:50.940
it's just not feeling right.
2860
02:28:50.940 --> 02:28:52.140
It's not feeling very structured.
2861
02:28:52.140 --> 02:28:54.065
It's kind of losing its angle,
2862
02:28:54.065 --> 02:28:56.104
have a look at your jawline and see
2863
02:28:56.104 --> 02:28:59.253
if that needs adjusting at all.
2864
02:29:04.410 --> 02:29:07.710
And it same with the edge of the face.
2865
02:29:07.710 --> 02:29:09.369
So if you've got the jawline on the left
2866
02:29:09.369 --> 02:29:13.538
and then the edge of the face on the right,
2867
02:29:13.538 --> 02:29:17.391
try and keep that nice and clean that edge.
2868
02:29:17.391 --> 02:29:21.338
And if it's starting to maybe become a bit muddied,
2869
02:29:21.338 --> 02:29:25.350
you can, don't be afraid to go into the background.
2870
02:29:25.350 --> 02:29:27.990
So if I have time,
2871
02:29:27.990 --> 02:29:30.992
I might go into my background and start
2872
02:29:30.992 --> 02:29:33.510
putting in some shadow.
2873
02:29:33.510 --> 02:29:37.039
So some dark shadow in behind there.
2874
02:29:37.039 --> 02:29:40.740
And not only is that going to make
2875
02:29:40.740 --> 02:29:42.870
the shadows in the face start to make sense more,
2876
02:29:42.870 --> 02:29:45.593
but it will also help me to clean up any edges.
2877
02:29:54.330 --> 02:29:55.470
We had a question about
2878
02:29:55.470 --> 02:29:57.930
doing skin under the hairline
2879
02:29:57.930 --> 02:30:00.783
or under the hair as well.
2880
02:30:01.650 --> 02:30:02.867
Under the hair, like.
2881
02:30:02.867 --> 02:30:05.583
Or how you paint skin under hair.
2882
02:30:06.604 --> 02:30:11.604
I usually approach hair towards the end
2883
02:30:12.810 --> 02:30:16.230
and I don't paint skin.
2884
02:30:16.230 --> 02:30:17.670
And then add hair on top.
2885
02:30:17.670 --> 02:30:19.870
I kind of treat the hair as a big shape
2886
02:30:20.760 --> 02:30:22.280
of whatever colour their hair is.
2887
02:30:22.280 --> 02:30:23.880
So if they've got brown hair,
2888
02:30:23.880 --> 02:30:25.440
I would paint it brown,
2889
02:30:25.440 --> 02:30:27.930
I think more important and probably a little bit more
2890
02:30:27.930 --> 02:30:32.361
difficult is the space between the skin and the hairline.
2891
02:30:32.361 --> 02:30:37.361
So that's actually something that I need to work on
2892
02:30:37.686 --> 02:30:40.350
next week on my chief justice portrait
2893
02:30:40.350 --> 02:30:42.990
is I've gone back into the face
2894
02:30:42.990 --> 02:30:45.150
and done my layer of glaze,
2895
02:30:45.150 --> 02:30:46.410
which is where all the details
2896
02:30:46.410 --> 02:30:47.850
really starting to come through.
2897
02:30:47.850 --> 02:30:49.780
And I've added in this, the
2898
02:30:51.006 --> 02:30:53.897
I've added in the hair, but there's a bit of a,
2899
02:30:53.897 --> 02:30:57.900
kind of a harsh line or edge between where the hair starts
2900
02:30:57.900 --> 02:31:00.060
and his forehead starts.
2901
02:31:00.060 --> 02:31:05.060
So the way that I'll tackle that is by finding a mid tone.
2902
02:31:05.640 --> 02:31:07.470
It's usually a bit of a grey.
2903
02:31:07.470 --> 02:31:10.020
So like that last row that we mixed up,
2904
02:31:10.020 --> 02:31:13.082
which is that grey purplely blue.
2905
02:31:13.082 --> 02:31:17.114
And I kind of just glaze between
2906
02:31:17.114 --> 02:31:19.080
the hairline and the hair
2907
02:31:19.080 --> 02:31:20.520
to add a bit of a shadow
2908
02:31:20.520 --> 02:31:24.780
and make it feel like it's moving upwards out of the head,
2909
02:31:24.780 --> 02:31:26.580
as opposed to this, these two,
2910
02:31:26.580 --> 02:31:28.503
like wearing a wig or something.
2911
02:31:28.503 --> 02:31:30.393
It's actually sitting in the head.
2912
02:31:41.013 --> 02:31:42.690
Jillian is wondering
2913
02:31:42.690 --> 02:31:45.510
if you always change brushes for different hues
2914
02:31:45.510 --> 02:31:47.103
or just for size and shape.
2915
02:31:48.414 --> 02:31:51.030
What actually I've pretty much been using
2916
02:31:51.030 --> 02:31:52.500
the same brush this whole time.
2917
02:31:52.500 --> 02:31:57.030
Because I'm working mostly in the same space,
2918
02:31:57.030 --> 02:31:59.586
I'm not jumping from dark to light constantly.
2919
02:31:59.586 --> 02:32:03.870
I'm finding that I'm just wiping my brush and physically
2920
02:32:03.870 --> 02:32:05.790
removing the painters enough.
2921
02:32:05.790 --> 02:32:07.290
Towards the end of the painting
2922
02:32:07.290 --> 02:32:09.540
though if I'm starting to,
2923
02:32:09.540 --> 02:32:11.250
I've pretty much covered the canvas
2924
02:32:11.250 --> 02:32:14.970
and I'm starting to work on detail a little bit more,
2925
02:32:14.970 --> 02:32:16.920
and I'm going between light and dark.
2926
02:32:16.920 --> 02:32:19.326
I might need to use multiple brushes,
2927
02:32:19.326 --> 02:32:21.240
but for now I'm pretty much just,
2928
02:32:21.240 --> 02:32:23.940
I found a brush that I like and I'm working with that.
2929
02:32:44.460 --> 02:32:46.620
Another brush question.
2930
02:32:46.620 --> 02:32:48.120
As you get up to the fat layers,
2931
02:32:48.120 --> 02:32:50.940
do you like to use a dry and clean fluffy brush
2932
02:32:50.940 --> 02:32:52.500
to blend the sections?
2933
02:32:52.500 --> 02:32:55.530
Or do you prefer to add more paint between sections?
2934
02:32:55.530 --> 02:32:57.840
I prefer to add paint.
2935
02:32:57.840 --> 02:33:01.114
So I'll find a mid tone between sections
2936
02:33:01.114 --> 02:33:03.053
and I'll just place the paint.
2937
02:33:03.053 --> 02:33:07.230
And then depending on how wet the paint is
2938
02:33:07.230 --> 02:33:09.300
or how easy it is to move,
2939
02:33:09.300 --> 02:33:11.430
it might, it usually just kind of naturally
2940
02:33:11.430 --> 02:33:12.690
starts to blend together,
2941
02:33:12.690 --> 02:33:15.793
but I might work it a little bit to blend it.
2942
02:33:55.925 --> 02:33:59.130
Speaking of hard things to paint.
2943
02:33:59.130 --> 02:34:02.733
Mary Lou has asked how to paint a row of lovely white teeth.
2944
02:34:04.635 --> 02:34:06.798
My best advice is don't,
2945
02:34:06.798 --> 02:34:08.405
(Gill laughing)
2946
02:34:08.405 --> 02:34:12.060
Not just because I think they never seem to look good,
2947
02:34:12.060 --> 02:34:14.520
no matter how good you are at painting.
2948
02:34:14.520 --> 02:34:16.491
I just generally think that
2949
02:34:16.491 --> 02:34:19.956
smiles in a painting with big teeth.
2950
02:34:19.956 --> 02:34:23.528
If you look through historically through portraits,
2951
02:34:23.528 --> 02:34:26.550
you rarely ever see, especially
2952
02:34:26.550 --> 02:34:28.230
I do you know, of any works
2953
02:34:28.230 --> 02:34:30.060
in the National Portrait Galleries collection
2954
02:34:30.060 --> 02:34:32.220
where they've got big smiling row of teeth.
2955
02:34:32.220 --> 02:34:33.833
I've got a feeling that we,
2956
02:34:34.800 --> 02:34:36.660
that perhaps one of our previous directors
2957
02:34:36.660 --> 02:34:39.000
wrote a book about the smile in a portrait,
2958
02:34:39.000 --> 02:34:41.669
but I think it's so rare an event.
2959
02:34:41.669 --> 02:34:42.990
Yeah.
2960
02:34:42.990 --> 02:34:44.803
We're all looking at each other
2961
02:34:44.803 --> 02:34:46.440
with furrowed brows, trying to think of
2962
02:34:46.440 --> 02:34:48.903
someone with a smile, a painted smile.
2963
02:34:49.798 --> 02:34:52.350
I think there might be some photographs of people smiling.
2964
02:34:52.350 --> 02:34:53.600
Yeah.
2965
02:34:53.600 --> 02:34:54.900
Potentially, but I'm struggling to think
2966
02:34:54.900 --> 02:34:57.513
of a painted smirk.
2967
02:34:59.190 --> 02:35:00.720
Not sure,
2968
02:35:00.720 --> 02:35:03.930
But I think the fact that, yeah that there's photographs,
2969
02:35:03.930 --> 02:35:06.120
it goes to show the difference in the medium.
2970
02:35:06.120 --> 02:35:09.301
So photograph is totally different to a portrait.
2971
02:35:09.301 --> 02:35:11.115
A painted portrait
2972
02:35:11.115 --> 02:35:14.010
because you know that they're capturing,
2973
02:35:14.010 --> 02:35:17.520
you're capturing a split moment in time with a photograph.
2974
02:35:17.520 --> 02:35:20.041
So the moment that someone smiles,
2975
02:35:20.041 --> 02:35:21.930
whereas with a portrait it's.
2976
02:35:21.930 --> 02:35:23.610
I mean, at the same time you are capturing
2977
02:35:23.610 --> 02:35:25.646
a moment in a portrait,
2978
02:35:25.646 --> 02:35:29.045
and it could translate really well to have a smile,
2979
02:35:29.045 --> 02:35:33.060
depending on lots of other different elements
2980
02:35:33.060 --> 02:35:35.490
to what kind of a painting you're going for.
2981
02:35:35.490 --> 02:35:37.530
But for the work that I like to do,
2982
02:35:37.530 --> 02:35:40.200
I like it to be a little bit more pensive.
2983
02:35:40.200 --> 02:35:43.020
So someone can still be happy and joyful in the image,
2984
02:35:43.020 --> 02:35:46.785
but it's more of a quiet contemplation and that maybe
2985
02:35:46.785 --> 02:35:51.177
they're also not looking at the camera
2986
02:35:51.177 --> 02:35:54.120
or that they're looking out of the camera.
2987
02:35:54.120 --> 02:35:58.710
So I've done pictures where people are smiling,
2988
02:35:58.710 --> 02:36:03.710
but it's yeah, not that big, cheesy grin that you see.
2989
02:36:06.840 --> 02:36:08.160
I think we've come up with one.
2990
02:36:08.160 --> 02:36:12.300
I think Eddie Mabo has a smile in his painted portrait.
2991
02:36:12.300 --> 02:36:14.190
We might be able to drop that in the link too.
2992
02:36:14.190 --> 02:36:15.023
Oh yeah.
2993
02:36:15.023 --> 02:36:16.773
So Gordon Bennett.
2994
02:36:25.770 --> 02:36:28.500
I might get our web developer onto that on Monday.
2995
02:36:28.500 --> 02:36:30.267
He can pull together a list of all the smiles
2996
02:36:30.267 --> 02:36:32.403
and the collection painted smiles.
2997
02:36:49.080 --> 02:36:51.123
That's a challenge for you, Abby.
2998
02:36:52.053 --> 02:36:54.513
She's got a smile in hers.
2999
02:36:57.990 --> 02:37:01.350
But although in saying that to actually give some advice,
3000
02:37:01.350 --> 02:37:05.090
because I have done pictures with portraits before,
3001
02:37:05.090 --> 02:37:07.353
with portraits, with teeth before.
3002
02:37:08.258 --> 02:37:12.562
Same with when it comes to irises,
3003
02:37:12.562 --> 02:37:15.180
they're never as white as you think are.
3004
02:37:15.180 --> 02:37:18.350
So teeth, aren't going to be pure white.
3005
02:37:18.350 --> 02:37:23.350
It's not that people have yellow teeth,
3006
02:37:23.610 --> 02:37:27.241
but they're more likely going to be slightly yellow or grey.
3007
02:37:27.241 --> 02:37:32.241
So as well, try not to over define it.
3008
02:37:33.469 --> 02:37:38.469
So not individual teeth, but more of like a shape.
3009
02:37:39.270 --> 02:37:42.360
So it might be that you've got like
3010
02:37:42.360 --> 02:37:46.320
the impression of teeth through a bit of a,
3011
02:37:46.320 --> 02:37:49.770
a shape that is in reasonably the right colour.
3012
02:37:49.770 --> 02:37:51.150
I would get that in first
3013
02:37:51.150 --> 02:37:53.883
and then go back and maybe define
3014
02:37:53.883 --> 02:37:58.050
maybe just the front four of four teeth
3015
02:37:58.050 --> 02:38:00.090
and work there as opposed to, you know,
3016
02:38:00.090 --> 02:38:03.660
trying to get perfect definition of teeth.
3017
02:38:03.660 --> 02:38:04.920
That's when it's gonna look scary,
3018
02:38:04.920 --> 02:38:06.233
like a big clown grin.
3019
02:38:06.233 --> 02:38:08.900
(Gill laughing)
3020
02:39:03.180 --> 02:39:06.630
So just walking through what I'm doing right now,
3021
02:39:06.630 --> 02:39:10.920
I've pretty much covered both sides of the face,
3022
02:39:10.920 --> 02:39:13.290
the shadows and the highlights.
3023
02:39:13.290 --> 02:39:15.723
Now I'm going into the nose.
3024
02:39:16.623 --> 02:39:19.653
And then I'll tackle the eyes and the lips.
3025
02:39:24.090 --> 02:39:27.060
But this is kind of opposite to where my initial instincts
3026
02:39:27.060 --> 02:39:29.880
would've been maybe five, 10 years ago.
3027
02:39:29.880 --> 02:39:31.710
I would've wanted to go straight into the eyes
3028
02:39:31.710 --> 02:39:33.423
'cause I was excited about detail.
3029
02:39:36.090 --> 02:39:38.520
Nowadays I just wanna get
3030
02:39:38.520 --> 02:39:42.183
the painting going as quickly as I can.
3031
02:39:44.850 --> 02:39:47.264
And also 'cause I just worked out that a better method
3032
02:39:47.264 --> 02:39:49.830
was rather than getting caught up in the details
3033
02:39:49.830 --> 02:39:51.570
because then you know,
3034
02:39:51.570 --> 02:39:53.820
the eye might look far too big and detailed
3035
02:39:53.820 --> 02:39:55.500
than what it actually is.
3036
02:39:55.500 --> 02:39:58.048
It's better to give something for those,
3037
02:39:58.048 --> 02:40:01.380
those features to hold onto.
3038
02:40:01.380 --> 02:40:04.410
So a common thing that I see with students
3039
02:40:04.410 --> 02:40:06.810
is that they might make a nose
3040
02:40:06.810 --> 02:40:10.860
that is far too big or lips that are far too big
3041
02:40:10.860 --> 02:40:14.670
or that are slightly off in their or their placement.
3042
02:40:14.670 --> 02:40:17.760
And instead of well,
3043
02:40:17.760 --> 02:40:20.490
the way that a student might approach it,
3044
02:40:20.490 --> 02:40:22.680
that we try and work through
3045
02:40:22.680 --> 02:40:25.170
is they might continually try and work
3046
02:40:25.170 --> 02:40:26.670
back into the nose for example,
3047
02:40:26.670 --> 02:40:28.350
to try and get the shape
3048
02:40:28.350 --> 02:40:29.850
back to where it needs to be.
3049
02:40:29.850 --> 02:40:32.220
And actually because they've spent so much time on the nose,
3050
02:40:32.220 --> 02:40:33.690
the nose itself is looking great.
3051
02:40:33.690 --> 02:40:36.780
The problem is that it's everything surrounding the nose
3052
02:40:36.780 --> 02:40:39.240
that has lost shape.
3053
02:40:39.240 --> 02:40:42.275
So then what we do is we look at,
3054
02:40:42.275 --> 02:40:43.950
for example, the space
3055
02:40:43.950 --> 02:40:47.460
between the bottom of the nose and the lips
3056
02:40:47.460 --> 02:40:51.450
and the space surrounding the nostrils
3057
02:40:51.450 --> 02:40:54.090
or the surrounding the cheeks.
3058
02:40:54.090 --> 02:40:56.667
And then by spending some time on there
3059
02:40:56.667 --> 02:40:59.190
and it often doesn't take much to adjust.
3060
02:40:59.190 --> 02:41:01.830
It brings all of the structure back to the nose.
3061
02:41:01.830 --> 02:41:04.068
So if something is starting to look a little bit off,
3062
02:41:04.068 --> 02:41:06.750
also look at the surrounding
3063
02:41:06.750 --> 02:41:08.680
parts of that feature and think,
3064
02:41:08.680 --> 02:41:11.580
is there something there that you can adjust?
3065
02:41:11.580 --> 02:41:13.203
Because there probably is.
3066
02:41:19.530 --> 02:41:21.420
So the one time I am actually gonna
3067
02:41:21.420 --> 02:41:25.230
change my brush now is to do the pupils.
3068
02:41:25.230 --> 02:41:26.793
Not the pupils, the nostrils.
3069
02:41:40.475 --> 02:41:42.750
And when you're working on details like nostrils,
3070
02:41:42.750 --> 02:41:46.440
it's good to have it to be quite lean
3071
02:41:46.440 --> 02:41:49.740
or at least quite a lot of medium.
3072
02:41:49.740 --> 02:41:51.300
At least I find not always
3073
02:41:51.300 --> 02:41:53.730
sometimes you also want a opacity
3074
02:41:53.730 --> 02:41:56.130
but more just if you you're struggling
3075
02:41:56.130 --> 02:41:57.360
to get the paint to flow,
3076
02:41:57.360 --> 02:41:59.973
to move into those little details and crevices,
3077
02:42:39.245 --> 02:42:41.013
How are we going for time?
3078
02:42:42.249 --> 02:42:45.120
We really only have about eight minutes left.
3079
02:42:45.120 --> 02:42:45.953
Okay, I'll see if I can get.
3080
02:42:45.953 --> 02:42:47.220
Eight or nine minutes.
3081
02:42:47.220 --> 02:42:50.170
Lips on and eyes done in eight minutes.
3082
02:45:54.930 --> 02:45:58.080
Kelly's rethought her entire approach to painting.
3083
02:45:58.080 --> 02:45:59.850
She normally goes from dark to light.
3084
02:45:59.850 --> 02:46:03.660
So she's, having an existential dilemma.
3085
02:46:03.660 --> 02:46:04.620
We love causing people
3086
02:46:04.620 --> 02:46:07.390
existential dilemmas here at the Portrait Gallery,
3087
02:46:08.281 --> 02:46:11.670
but also people out of their comfort zone a little bit.
3088
02:46:11.670 --> 02:46:12.520
Yeah.
3089
02:46:14.427 --> 02:46:16.050
And also my way of painting
3090
02:46:16.050 --> 02:46:18.332
isn't the right way or the only way,
3091
02:46:18.332 --> 02:46:20.820
you know, it doesn't mean
3092
02:46:20.820 --> 02:46:22.940
that you can't go light, dark to light.
3093
02:46:22.940 --> 02:46:24.870
Oh I think people are
3094
02:46:24.870 --> 02:46:28.050
thoroughly enjoying this session, Mel.
3095
02:46:28.050 --> 02:46:28.900
Yeah.
3096
02:47:01.010 --> 02:47:05.100
We might give everybody five more minutes work.
3097
02:47:05.100 --> 02:47:08.010
And then what we might do is bring Mel out
3098
02:47:08.010 --> 02:47:12.630
in from her desk to have a look at all of the work.
3099
02:47:12.630 --> 02:47:15.113
If you feel comfortable, we can share on the big screen,
3100
02:47:15.113 --> 02:47:17.970
you can show her what you've been working through,
3101
02:47:17.970 --> 02:47:20.370
but let's do that in another five minutes or so.
3102
02:47:56.840 --> 02:47:57.673
Oops.
3103
02:48:43.695 --> 02:48:45.630
Under normal circumstances,
3104
02:48:45.630 --> 02:48:48.030
we might have run over a little bit
3105
02:48:48.030 --> 02:48:50.250
with this workshop and given you a few extra minutes
3106
02:48:50.250 --> 02:48:52.500
of Mel's time, but unfortunately
3107
02:48:52.500 --> 02:48:55.084
we've popped her on a plane at 5:00 PM.
3108
02:48:55.084 --> 02:48:57.720
Australian Eastern standard time.
3109
02:48:57.720 --> 02:49:00.990
So she will be, as soon as four o'clock comes,
3110
02:49:00.990 --> 02:49:02.700
she'll be racing.
3111
02:49:02.700 --> 02:49:06.300
So, but we will have never fear.
3112
02:49:06.300 --> 02:49:08.460
We will have the recording up on our website
3113
02:49:08.460 --> 02:49:12.180
within a few days and you can also jump onto Facebook live
3114
02:49:12.180 --> 02:49:13.500
if you can't wait that long
3115
02:49:13.500 --> 02:49:16.590
and check out the live stream recording,
3116
02:49:16.590 --> 02:49:18.140
which will be up there as well.
3117
02:51:12.510 --> 02:51:14.520
All right, Mel.
3118
02:51:14.520 --> 02:51:15.353
Okay.
3119
02:51:15.353 --> 02:51:16.878
If we're gonna get you on this plane.
3120
02:51:16.878 --> 02:51:17.711
(Gill laughing)
3121
02:51:17.711 --> 02:51:19.620
We might have to pause there.
3122
02:51:19.620 --> 02:51:20.993
Yes.
3123
02:51:20.993 --> 02:51:22.795
We might bring you out
3124
02:51:22.795 --> 02:51:24.180
from behind the desk
3125
02:51:24.180 --> 02:51:26.038
and just bring you up here if that's okay.
3126
02:51:26.038 --> 02:51:29.478
And then we can get everybody who would like to,
3127
02:51:29.478 --> 02:51:32.880
to hold their works up to the camera.
3128
02:51:32.880 --> 02:51:34.773
If you would like you've got.
3129
02:51:35.750 --> 02:51:37.410
Oh wow.
[Gill Oh look.
3130
02:51:37.410 --> 02:51:38.430
Oh, that's awesome.
3131
02:51:38.430 --> 02:51:40.620
Oh, that's fantastic.
3132
02:51:40.620 --> 02:51:42.030
Hector, would you mind just moving
3133
02:51:42.030 --> 02:51:45.243
the mouse on the screen so we can see some of the names.
3134
02:51:46.350 --> 02:51:47.640
Thank you so much, everyone.
3135
02:51:47.640 --> 02:51:48.940
Yeah, thank you so much.
3136
02:51:50.730 --> 02:51:52.410
Look at that, that's fantastic.
3137
02:51:52.410 --> 02:51:55.230
Oh my gosh all these different techniques.
3138
02:51:55.230 --> 02:51:56.640
Wow.
3139
02:51:56.640 --> 02:51:58.746
Oh Alex, that's gorgeous.
Oh that's awesome
3140
02:51:58.746 --> 02:52:01.440
Wow.
Oh fantastic Carol.
3141
02:52:01.440 --> 02:52:03.660
And you've all done so much in an hour as well.
3142
02:52:03.660 --> 02:52:05.670
Just over an hour of painting.
3143
02:52:05.670 --> 02:52:07.350
Carol and Karen look like they've been painting
3144
02:52:07.350 --> 02:52:10.020
the same person maybe that's a relative.
3145
02:52:10.020 --> 02:52:11.520
This is brilliant.
3146
02:52:11.520 --> 02:52:13.860
Thank you so much for sharing this with us, everybody.
3147
02:52:13.860 --> 02:52:17.113
It really, really fuels our souls
3148
02:52:17.113 --> 02:52:18.540
here at the Portrait Gallery.
3149
02:52:18.540 --> 02:52:19.980
Being able to see so many people
3150
02:52:19.980 --> 02:52:21.813
being so creative for an afternoon.
3151
02:52:23.626 --> 02:52:24.900
Isn't that great?
Yeah fantastic.
3152
02:52:24.900 --> 02:52:26.433
Thank you so much, everybody.
3153
02:52:27.480 --> 02:52:30.000
Thanks for sharing everything and.
3154
02:52:30.000 --> 02:52:31.440
And if you'd like to pass on
3155
02:52:31.440 --> 02:52:36.440
any compliments or any extra questions for Mel in the chat,
3156
02:52:37.140 --> 02:52:39.270
we'll make sure that she gets all of that
3157
02:52:39.270 --> 02:52:41.823
as soon as she manages to get safely back to Perth.
3158
02:52:44.470 --> 02:52:46.830
Thank you everyone.
3159
02:52:46.830 --> 02:52:48.540
Thank you.
Brilliant.
3160
02:52:48.540 --> 02:52:49.620
Thank you so much, Mel.
Thank you.
3161
02:52:49.620 --> 02:52:51.960
For all your time and for taking us through that,
3162
02:52:51.960 --> 02:52:52.793
your patience.
Yeah,
3163
02:52:52.793 --> 02:52:53.626
no thank you for having me
3164
02:52:53.626 --> 02:52:54.459
I've already managed to absorb
3165
02:52:54.459 --> 02:52:55.830
all of the compliments on your behalf,
3166
02:52:55.830 --> 02:52:57.060
but we'll send them through to you
3167
02:52:57.060 --> 02:52:58.110
because everybody has been
3168
02:52:58.110 --> 02:53:00.000
very forthcoming in their praise of softening side.
3169
02:53:00.000 --> 02:53:01.170
Oh, thank you so much.
3170
02:53:01.170 --> 02:53:02.910
Thank you, I know it's a very weird experience
3171
02:53:02.910 --> 02:53:05.040
to have to kind of do it in isolation
3172
02:53:05.040 --> 02:53:06.780
from people actually in the space.
3173
02:53:06.780 --> 02:53:08.280
But I can tell you there's been
3174
02:53:08.280 --> 02:53:09.300
100s of people out there
3175
02:53:09.300 --> 02:53:11.525
who've really thoroughly enjoyed it this afternoon so.
3176
02:53:11.525 --> 02:53:13.110
Yeah, oh I have too, it's been fantastic.
3177
02:53:13.110 --> 02:53:14.250
Thank you so much everybody.
3178
02:53:14.250 --> 02:53:16.410
And thank you to the National Portrait Gallery
3179
02:53:16.410 --> 02:53:19.410
for this amazing opportunity and yeah.
3180
02:53:19.410 --> 02:53:20.610
No problems at all, thank you.
3181
02:53:20.610 --> 02:53:22.920
Thank you.
Thank you everybody.
3182
02:53:22.920 --> 02:53:24.755
We'll let Mel run to go and get onto her plane,
3183
02:53:24.755 --> 02:53:27.420
but if anyone would like some more information
3184
02:53:27.420 --> 02:53:29.130
about the workshops that are forthcoming,
3185
02:53:29.130 --> 02:53:31.020
we have one on the 8th of October
3186
02:53:31.020 --> 02:53:32.790
with Caroline Zilinsky,
3187
02:53:32.790 --> 02:53:35.760
who is another Darling Portrait Prize finalist.
3188
02:53:35.760 --> 02:53:37.770
So please tune in for that one as well.
3189
02:53:37.770 --> 02:53:40.740
Otherwise, jump on our website, portrait.gov.au
3190
02:53:40.740 --> 02:53:42.510
check out everything that we've got going on,
3191
02:53:42.510 --> 02:53:44.130
both virtually and on site.
3192
02:53:44.130 --> 02:53:46.342
And I hope to see you all again online very soon.
3193
02:53:46.342 --> 02:53:47.700
Thanks for joining us this afternoon.
3194
02:53:47.700 --> 02:53:48.660
Thank you.
3195
02:53:48.660 --> 02:53:50.040
Bye.
3196
02:53:50.040 --> 02:53:51.190
Thanks.
Thank you.