Portrait Painting in Oil Without a Brain
Getting Started
Grid Method
Observational Drawing
Color Mixing and Values
Separating Lights and Shadows
Edges And Planes
Painting with Color
Intermediate Portrait
Advanced Portrait
Drawing
Pastel Portrait
Digital Portrait
Additional Content
An overview of using a limited pallet to create a skin ton chart.
Newest
@mahatsu
5d
Thank you for introducing Ketchup and Mustard method. Simpler method for complicated matters.
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4d
great job!
@jsheffie
6d
Hi Morgan, what is in the white bucket that you occasionally dip your brush into? I assume its a mineral spirit or a medium. At first I thought it might be water, but the internet suggests otherwise. I bought the stuff off of your materials list. I have Gamsol Mineral Spirits, Walnet Oil Medium, and Walnut Alkyd Medium.... Whats in the bucket?
( I think I remember you saying that you did not like Spirits as much )
Thanks, Morgan ( I am enjoying the lessons )
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4d
It's the plain walnut oil. I buy it off amazon in gallon jug.
@andreat
7d
Well this was a challenge but a good challenge. So glad I only have 4 colors to mix with. Now I know why I was overwhelmed with a full palette. Totally a much better approach to work with a limited palette. I am willing to remix if needed. Thanks SOOOO much for your help!
@andreat
6d
Here is my second attempt at the warm flesh tones. I think the first set is too warm and too dark in value.
Susan Pennington
7d
Oh my, I found this difficult as my first mix of alizarin crimson and white ended up too pink and stayed that way when I added the ochre light to it. Reworked my several of the light values in the attached to try and get rid of the reddish hue. This photograph is a bit misleading as to color as it's taken under a yellowish light. The background was actually grey mixed media paper but it and the colors appear more yellow. So I learned its important to get the initial mixture right tending to orange instead of red.
Susan Pennington
7d
Here's a new picture taken in natural light
Shelly England
8d
I was going for tight on the B&W but might be a little too tight between shadow and light
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8d
On the black and white scale your halftone and reflective light are too close. You need a little more contrast between the two to have proper shadow-light separation.
@szokebarnabas
9d
Skin mixing chart practice
Michèle Girard
9d
I'm learning so much! Thanks in advance for your input.
@tclark5
12d
Work in progress. Great Class!
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12d
looks good. you might be able to slightly lighter in reflective light in shadow
@rdj8564
13d
It looks like I could maybe add more black to the reflection and to the average shadow.
@rdj8564
13d
One other thing. The colors I used to make the scale were the colors that you used in the first lesson and in the last lesson trying to match the colors of the picture of the portrait that we’re going to draw.
@noelhenry5000
14d
I find that my average light is too close to my half tone. I was having a hard time remixing to get the right color.
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14d
It's overall a pretty good job on the mixtures.I see what you mean mostly on the first row of warmer mixture of the light. Your halftone could go just a bit darker by adding black and a touch of alizarin. I know at first it may feel weird to have so few colors but it will get simpler the more realize you can't stray too far from what is needed since it's just adjusting the amounts of the 4 colors to get it.
tina boroviak
15d
My colour mixing exercise. Ended up adjusting the average shadow to be less red.
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15d
good on the light skin tones. Your shadow tones are perhaps too close in value. You could lighten the reflective light value
Course by Michael Hampton
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Award winning fine artist represented by @legacygalleryart in Scottsdale AZ
