粉彩肖像研究豐富的色彩和細節階段

Hi there, thank you so much for clicking the thumbnail and being interested in my work. In this video I share with you my techniques and tips on how I did the rich colours and detail stage of this portrait part 2. Be sure to watch it right through till the end because here and there I'll be slowing things down in real time so you can take a closer look. So let's dive in and take a look. This is where we left it in part 1. So now on for part 2 and the background first. These are the greens I've chosen for that. And here's the colours for the rest of it. I'm using the Faber-Castell white for the brightest areas. Just choosing a green that is very similar to what I'm looking for. But with this stage I'm putting more pigment down, trying to get the value right, the chroma and the sort of temperature. So I'm building that up. I'm using burnt sienna and green to desaturate each other. Brown and blue for the actual darks rather than using black. And for the fresh areas here I'm using Faber-Castell white which is a lot fresher than the Carbothello white. So that creates more of a sort of atmosphere that I'm looking for. And using grey as well sometimes in places. This pencil here is called grey white from the Carbothello range. Really good pencil for creating that softness for backgrounds. So what I'm doing is putting different coloured greens down there. And then desaturate areas what need it with the burnt sienna. And then just to make it mistier I'm putting that 110 pencil over the top. Just going through this quite quickly, the background. So it gives me more time to focus on giving you the information about the rich colours for the face and the hair and so on. But it's fascinating to do nature as a background. Now as well as doing all these colours and that I'm aware that her energy is over this. Because this photograph was taken in nature. So her aura is actually in front of it. So not only am I connecting to the colours and everything. But I'm feeling the presence over there. And the connection she's feeling. Now to get that real vibrant white there. I'm using the Rembrandt white stick. And then manipulating that pigment with the Faber-Castell pencil. Because it's easy to move around. And then just blob a bit of pigment down. And then just move it. That's what I tend to do. There's quite a few pencils I use. Just to create that sort of subtle dark area. I just go by how it feels. Feel the temperature and then adjust accordingly. Here's the colours I'll be using for the skin tone. For the rich colours. Using a pink white from the Caran d'Ache there. In part one I just focused on just getting the drawing right. But now it's all about getting that value. Chroma. Temperature. More in keeping to what the reference is. So that's what I'm focusing on now. It's still a blocking stage. I'm still not too concerned about getting the details right. At this point. That will be later on in the video. But what I'm doing is actually. Getting a sort of feel for the sort of richness. The vibrancy. So I'm putting more pigment down. For the fresh areas. I'm putting the Faber-Castell white down. And then just glaze over them with whatever colours needed. And then that will shine through the colour. And keep it crisp. For the lips. I'm using a cold red. This is the Contour Paris range. Very chalky. Glazes really well. And then marking it out then. With the Carbofello white. I'm not too fussed about getting exactly the same details. As what's on the reference. More sort of for suggestion. To get that sort of chroma. I'm using lemon yellow. To make it sort of zingy in places. And for the dark areas. Just using dark green and cold red again. And that really gives it that depth. Rather than using black. Use the complementary colour. Green and red together. To help with the softness there. I'm using this light purple. Always say if you've got something very similar in your kit. Use it and then change it up with your primaries. So that was a handy colour to have. If you're enjoying this video. Why not subscribe? It's absolutely free. And then you're sure not to miss any of my future videos. Now to create that freshness I'm looking for. I've used the Caran d'Ache 5% flesh tint there. Using olive green and warm red again. Just to desaturate it. To create a natural shadow. Because when you put that red down. It's too vibrant. So you need to chill it down a little bit. And so to desaturate it. Just add the complementary colour. But what I've done here. Is adding a little bit of blue. Because it's a cooler colour as well. So you're putting the warm red down. Adding that blue to create a cooler red. And then if you want places warmed up. You'll have lemon yellow or yellow ochre. I'd just like to take this opportunity. To thank all my Patreons. For their wonderful support every month. I can't thank you enough. It really means the world to me. If you're considering joining me on Patreon. And would like the benefit of longer. Slower and more in-depth videos. Mostly in real time now. Please check the link in the description below. For more details. Eyelashes there. I'm using brown and dark blue. Rather than black at this stage. I'm not really worried about. All the subtleties at this moment. So it's just a case of. Really putting that pigment down. And creating texture. So small circles. And just building it up really. It all looks a bit too white and pink at the moment. But when I start putting the subtleties in. And adding that green to desaturate. It will give a more lifelike look. To the skin tone. But I'll go into that in detail. Later on in this video. Adding some whisks of hair there. Very lightly with a. Carbothella white. Just mapping it all out. I'll put lots of different colours. And specs in that later on. Just planning my way through. That's the blocking done then. For the actual rich colour. Now it's a time to get the subtleties in. So what I'm using is the green. And the red together. Just to go over that pinkiness. And to desaturate areas. And to give the skin. More of a natural look to it. Just putting very small circles. And just blending it in. Pencil over pencil. Dabbing my finger now and again as well. Just creates that softness. I'm looking for. But it's just working in that green. Just to desaturate everything. But there will be a lot more detail. Put in this towards the end. When I've got the hair in there. And the clothes. I'll just add that subtlety later on in the video. But at the moment. I'm just trying to desaturate. The red. And just putting that sort of texture in there. And preparing my way for. When I do actually put all those. Subtle details in later on in the video. Just shaping up the eyebrows. Keeping it nice and loose. Using brown and red there. And then just going over with the. Cotton bud to soften it up. I'd just like to put a suggestion in. And just an odd detail here and there. That's what I'm all about at the moment. Trying to create that feeling. Rather than all the details. Because I've mentioned this. In lots of my videos. When you first meet someone. You don't just look at all the details. You feel what the energy feels like. And that's what I try and create now. Here's a selection of colours. I'll be using for the hair. A lot of Caran d'Ache. Flesh tints there. Which I'll be using. Because it's a very similar sort of colour. All them flesh tints are really. Is a bit of yellow ochre. And a bit of red and white mix really. So the ideal for what I'm needing here. To get that richness. And vibrancy in the hair. Again with this. The start of the rich colour stage. All I'm interested in. Is trying to get that value. The chroma. Temperature. Somewhat like. But not interested in the details so much. So it's just basically. Getting that sort of foundation. Of all that rich colours in first. And then I'll add the details. If you enjoy this video. Why not give it a like. And share it with your friends. It would mean so much to me. As this would help the channel to grow. Using the Caran d'Ache. Flesh tint 5% here. And if it's. You know. If the line's too thick. You can always thin it down. With using a brown. At the side of it. And then. All I'm doing is really shaping up. And getting the flow of the hair. I don't see it as hair. Or details. Just see it as. Shapes. And light. And shade. It keeps you. More relaxed then. Rather than naming it. Now I'm getting the details. By using the side. Of the tip of the pencil. And I keep turning it. To find a new edge. And it seems to create. A nice thin line. Here and there. I like to keep things. Spontaneous. When I'm doing the details here. It's just a matter of. Just going with the flow. Open your heart. Let go of the mind. And don't overthink it. Because if you. Try and. Focus too much. On the reference image. It'll get a bit stale. And a bit. More detailed. Then it needs to be. Because it'll throw the eye off them. Because I try and create a hole. I'm trying to keep everything. Nice and loose. And spontaneous. So. That's what I tend to do. Is just open the heart. Let go of the mind. Just bring that image. Into you. So draw it from inside your heart. Rather than going. Outside of yourself. And focusing on the reference image. And you'll be surprised. What colours you'll see. More. And it'll just flow from you. Without any thought at all. Be really spontaneous. I'm using a. Rembrandt white stick here. For the brightest areas. It can be awkward to use. What I tend to do is. Just put the pigment down. Just place it down. Find the edge of the. Pastel stick. And then just blob it in. And then just move it around then. With the Faber-Castell white. And then to get that glow. I'm just going over then. With the lemon yellow. And then burnt sienna. Because that's a great combination. To create a gold. The white then. Would reflect light. Through the coloured glaze. So it's a glint. So it makes that glinty feel. To the hair then. So putting that white down. And glazing over the top. Just does the trick. It's a steady job. Putting these whisks of hair in. But again. Just using the edge of that. Pencil point. And just keep turning. The point. Find another edge. Some places. I'll actually use. The Faber-Castell white. And do the same again. Just let it flow from you. Just feel your way through. Just let it go. Just let it flow. And then what I'll do. Over this later. Is just put a few different glazes. Over the top of that white. Just to subtle it all up. But at the moment. I'm just drawing them all in. Mapping them out. If you're interested in knowing. How I do mix colours. And how I de-saturate them. How I create shadows. I have got a free class for you. It's in the description below. The link is. So you're welcome to it. So if you want to find that. After you've watched the video. It'll be there for you. Now these little whisks. Are a bit sort of more richer. So I'm using the 10%. The Caran d'Ache. Flesh tint there. And I'm just breaking the lines. So I'm not adding one continuous line. Because you'll find that hair is. Is like little broken lines. And then with highlights here and there. So that's what I'm doing here. Is just breaking it up. Just putting very fine pressure on. So I'm putting more pressure on. Where it's more richer. Less where it's just lightly done. Now it's possible to put these details down. Because I've left a little bit of tooth. On the surface there. So I've not over saturated with the pigment. Of the skin tone. And what I'm doing is lightly. Sort of stroking the surface. And the brown is just slowly coming off. A bit more pressure where it's darker. Less where it's not so dark. Now she's wearing some fur around her neck. And on the shoulders. It's very similar to the hair. So I've just done it exactly the same. As what I did the hair. Same colours and everything. I've used the black and the brown. For the deepest shadows there. Just to get some depth. But basically just doing. Exactly the same really. And just being free flowing. Finding the pattern first. Not seeing it as hair. Just seeing it as shapes. Light and shade. And then just drawing that. And it just seems to come together then. Without any issues. Now the background here. I'm placing more colour in it now. So I'm trying to bring. That side of the background into play now. Putting more details in. Making it fresher. So it all becomes one. Now this part of the painting. Can feel a little bit daunting. If you let it get to you. You know if you start. Thinking about it too much. Again it's the same approach. To everything else. Just see it as shapes. Light and shade. And the secret is really. To do this sort of thing. Is to find the pattern. So it's worth spending your time. Just finding the pattern. And just using basic colours. I'm just using grey. And the white grey together. Just to get the sort of flow of it. And it keeps it simple then. You haven't got to worry about. All those different shades. You can glaze all those in afterwards. What I tend to do is. Just a small section to start with. And just feel my way through. Just see how it feels. Get the flow there. And then once you've established. A way of doing it. And finding that pattern. Then you can move on then. To the other areas. And then it's just a case then. Of piecing it together. Just try and find that flow through. The actual line of the stitching. Because there's a flow to it. And it's just finding that flow. I try to keep it as similar as I can. It's not exactly the same. But I try and keep it as close. To it as I can. Without putting too much detail in. Because like I mentioned before. I'm trying to be more looser. More sort of painterly if you like. So I'm just feeling my way through. Just going with the flow. Again bringing that image. Into me rather than. Focusing too much outside of myself. Once I've established the pattern. All I do then is glaze over then. With brown and blue. Which will create a natural shadow. And then just keep putting little bits. Of reds, blues. Also yellows as well. To desaturate the purpley colour. And then just put in little specks. Here and there. To give it variety. Right just putting the final details everywhere. I'm using a bob stick now for that. Or a mole stick. Is what I use for my oil paintings. Now I'm focusing on the hole now. So I go with instincts. If there's something that doesn't feel right. In the portrait it needs attention. So I'm not overthinking it. I'm not looking at it with like blinkers. And every detail. Seeing if it's the same as reference. I'm just feeling it at a distance. Looking in the mirror. Just seeing if there's anything that needs to be changed. So it all becomes like one energy. Now this is a great tool to have in your kit. I highly recommend getting one. It's called a colour shaper. And all I'm doing is dab dab dabbing it. And moving the pigment around. Now I'm cleaning it every so often. So I'm making sure that I don't sort of make anything muddy. So if I'm on the light area. I'll do the light area then clean it. And then go on to whichever other area I do. Like I mentioned it's just getting a balance everywhere. So odd mark here and there. And odd layers. Subtleness there. You know you're just looking at what's. Needs to be softened. What needs to be sharpened up. Certain colours might need changing. A bit more glow here and there. Just basically tidying it all up. So what I tend to do is. Take a photograph with a mobile phone. Look behind myself with a mirror. Just to see the reflection. And also take it into another room. See what it looks like then. And then just get a general feel to it. And sometimes have a break from it. Then come back to it with fresh eyes. And you see all the things that needs to be done. Thank you so much for watching the video right till the end. I really appreciate it. If you've enjoyed it. Please give it a thumbs up and share it with your friends. It means so much to me. As this would help the channel to grow. If there's any questions. Please leave a message in the comments section below this video. And I'll get back to you as soon as I can. If you want to watch any more of my work. Please check out this video here. Take care. Bye for now.