Below is an in-progress list of tutorials, with a description and highlights for each. If you find a particularly helpful video, please share so I can add it here. There are many good videos on artprof.com if you wish to search based on a given topic.
For some of the longer videos, you may wish to watch as you work and to watch at 1.25 or 1.5x speed.
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Mixing Flesh Tones with Water-based Oils
from artprof.com
(duration: 1 hr, 43 minutes).
In this video, the artist, Clara Lieu, demonstrates mixing for a self-portrait. As she works, we see her compare, assess, and edit, all critical art making skills. Some key takeaways are:
-it is easier to exaggerate color and have to tone it down than create colors that are muddy or gray
-consider your lighting. Use natural light when possible for working from life or taking a source image, assuming it suits your concept. You will perceive the broadest range of colors working from life with natural light, though often that’s not an option.
-artificial light—warm highlights cool shades; natural light—cool highlights, warm shadows
-consider working with soft, diffuse light from a nearby window. Consider working at the same time of the day each day for consistent light conditions.
-when mixing, create a base tone and mixing variations from there (cohesion, bc then colors are related)
-look at a given area and compare to what’s next to it when mixing (e.g. notice which color is darker, more greenish, etc.)
-try a color you have mixed and then assess, tweak as needed; be sure to consult the model/source image for accuracy often
-wipe off whatever doesn’t work. Editing is part of painting.
-“you can’t really evaluate a color until the whole canvas is covered”
-'once you have a color, don’t isolate it, find uses for it in other parts of the painting’
-squint often! This helps you look past the details and focus on large forms/color relationships.
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Pen & Watercolor: Imaginary Backgrounds
(duration: 23 min)
from artprof.com
This video gives some good tips for a student who may wish to create an invented background with the support of real objects. The presenting artists cover the following:
-the importance of a considered background
-background as character
-the utility of atmospheric perspective to create a sense of depth in a composition
-the value of working plein air (outside!)
-Nice compositional tips
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Watercolor Portrait Painting 1
(duration: 1 hr and 48 min)
from artprof.com
Watercolor Portrait Painting 2
(duration: 1 hr and 48 min)
In this video by artist, Clara Lieu, we see one approach to building a portrait in watercolor. Note: I caution you not to rub watercolor paper as she does in the videos. That works on a watercolor block (a great but expensive option) but tends to cause pilling on standard paper. However, there are many tips to share:
-Experiment with the amount of water you have on your brush. In this video, Ms. Lieu works fairly improvisationally, in drier, looser layers.
-Experiment with different brushes and kinds of markmaking. Try different approaches to paint application, varying the saturation of the paint, the amount of water you use, etc.
-Keep a sponge and/or paper towel nearby for correction and to quickly clean your brush.
-I recommend you start with a very light pencil sketch or drawing but also experiment without it.
-Blot (don't scrub) your paper for areas that are too wet, too dark, wrong color etc.
-Work the whole surface, rather that jumping ahead in one area, as you would in other media
-Avoid use of white and black. (There may be exceptions).
-Keep a paper towel nearby for areas that are too wet. too dark, wrong color etc.
-Avoid outlining.
-Work from work light to dark, beginning with your lightest values.
-Protect your lights/the white of your paper, since you can’t get them back once you’ve painted them out.
-“It’s all layers.”
-Do not neglect the background; that should also be considered/worked in the early stages.
-Keep a piece of scrap paper nearby to test colors/layers.
-Work from general to specific.
-Experiment working wet on wet, using drybrush etc. It’s not a problem to pause and allow an area to dry if you don’t want a bleed/soft edge (you can also hasten the drying time with a hair dryer);
-Constantly reassess your colors of accuracy and edit as needed.
-Watercolor blocks are great for plein air painting and to limit buckling of the paper, but they are not cheap.
-Two masters of watercolor to look at are Andrew Wyeth and John Singer Sargent.