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Art Lessons: Theatrical Lighting

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[MUSIC]
So
this lesson is on theatrical lighting,
and, theatrical lighting,
you know it from Toulouse-Lautrec
paintings, of the underworld.
And, Edgar Degas paintings of all the
ballerinas.
Now theatrical lighting obviously comes
because.
The lights are usually on the bottom of
the stage and that creates drama.
So often times when you see someone
everyday and all of a sudden you see them
when they're theatrically lit you don't
even recognize them.
You're like woah, who's that a photograph
of,
I don't even recognize them, and that's
because.
It's so rare that we see a person like
that, but
for an artist it really gives us a sense
of the drama.
It's the drama.
It's Degas' opera.
It's Degas' ballerinas.
It's Toulouse-Lautrec's underworld that
were really.
Finding those characters that are really
interesting because it's intriguing.
So I'm gonna do a little demo, a quick
demo of a theatrically lit,
otherwise known as below lighting
painting.
So first I'm just gonna take this photo of
myself and.
Do a quick sketch.
Invalue.
Because obviously you can draw this to,
and when you sketch it like this.
You realize that all of these planes that
you're so used to drawing and painting.
There are lit different now.
But we just don't, we just don't see it,
we just never see this.
And that's a really interesting unique,
kind of, perspective on things.
Now, when I hold the pencil, I like to.
Kinda hold it like this with these two
fingers.
And I'm able to kinda draw from my
shoulder and for
me that feels very comfortable.
A lot of people have different ways to
draw but for me that works.
You should try it out if that feels like
it's gonna be right for you.
Now the light is kind of shooting up from
the top.
It's lighting you in very weird ways.
I'm catching
this under
light here [NOISE].
Now the ears.
Ear's right about here.
And really the light is because it's
streaming up, it's catching.
[SOUND]
The center of everything.
So it's catching this plane here.
It kind of falls off a little bit here.
It's definitely capturing and
hitting this plane right here, the neck.
[SOUND]
And really cast a shadow onto my forehead,
even from, from the nose all the way up.
Like that, and gets very dark in here too.
Mm.
Catches a little bit of the brow ridge.
And it goes back into space like that.
And side plane is not experiencing it.
The light.
The skin.
Fold, there's a fold here.
It's dark, the fold here is dark.
And this side is just going to kind of
block in faster.
Like that.
[NOISE] And that light is just.
Kind of catching this fold right here.
See how dark this is right here.
That's catching this light
right here, and just a contrast.
[SOUND] And show you [SOUND]
how the light is working.
[SOUND]
You could see it like that, so.
Light's really coming in here, almost
blowing it out so
much like there's no edge.
Like that.
And it's really hitting the top plane
right here,
and it's really hitting the under plane of
that eye.
Under plane of that eye.
[SOUND] And when I paint it, I'll get into
maybe even the fact that it.
Comes in the eye like that.
Is really, you squint down and
start seeing all this information that you
don't really need.
This right in here.
Like that.
That's a little darker gray as to lighter
as it gets closer to the light source.
Now, this kind of looks like me but that's
not really my goal is to make,
I don't really care about a likeness.
I just care about more of the drama.
No one's going to know it's me,
and really the light's
flooding down here.
It's really flooding.
My side
plane much darker.
My messy hair.
You can barely see the edge of that hair
too, it just kind of fades out.
[SOUND]
The top of the eye.
I'm just kind of drawing with my side of
my pencil too.
Just kinda laying strokes down like that.
I'm kind of in painting mode so I don't
really even think about line quality.
A lot of my drawings are very line quality
oriented but.
I don't think about that right now, I'm
just kinda thinking about [SOUND] value.
Thinking like a painter.
[SOUND]
Now as you continue you wanna kinda move
your pencil back.
See what I just did?
Because, if I'm so close, my hand's gonna
be on the paper.
And I'm gonna be rubbing all the drawing
that I'm doing away.
So, kind of go back and make sure you're
just not,
everything you're putting down, you're not
taking away, and as I do these strokes,
I'm thinking about kind of cross hatching.
So I'm not, I'm not going this way.
[NOISE] And then doing this, which is like
weird, checkers.
But, I'm kind of, if I'm doing this, you
know,
I'm doing something like that, or
something like that.
So they're diagonals, and diagonals, and
diagonals and then it starts to kind of
build up a.
Atmosphere, so,
that's really important,
and that's how I draw,
I do a lot of cross hatching,
just do a lot of like,
I try to get down just,
value and tone [NOISE].
And really.
Not seeing this but,
the under plane of that, here.
That plane of the ear.
[SOUND]
Really, that mouth
is just so dark right
here [NOISE] hmm, and
obviously I'm gonna
get darker when I paint.
But that's kind of, my dark, darks are
gonna be,
my accents are gonna be in the nose here.
And really seeing what's going on with
that.
Looking at the direction of that.
Maybe the philtrum here.
Maybe.
The pupil.
And that kind of gives it also really kind
of cool.
Theatrical feel to the drama,
of course right here.
This plane.
The zygomatic arch coming in.
[SOUND]
Mm, you can see I can continue and
continue.
But I'm gonna paint.
So, in a break right here, so
that, I could kind of take this drawing I
did
and paint on top of it.
Don't lose the drawing, don't lose the
drawing.
It's gonna happen, get used to it guys,
that's right.
Okay.
[MUSIC]
[MUSIC]
So
now we're moving into the painted version
of the theatric lighting and,
you know, usually I don't really work on.
[SOUND] Paper, but, sometimes it's fun to
work on paper.
Obviously, if you're looking to make this
into a masterpiece and
to sell this, it's not as valuable because
it's not archival.
So you really wanna do this on canvas if
it's not an exercise.
But if it's an exercise, paint on
chipboard, paint on cardboard,
paint on bond paper, paint on illustration
board, hot press, cold press.
But if this is something that you want to
be archival try to work more with canvass.
Obviously it’s more expensive but, you
know, there is
something to be said for paintings that
are able to be archival.
Now because it's acrylic, I've actually
painted on this kind of paper
from 20 years ago and you know, it still
holds up cuz it's acrylic, so.
I enjoy it, especially when I give demos
and I'm just painting or
drawing really fast on paper.
And I'm like, well wait a minute, I should
just paint that real fast.
So I just kinda mix it up and paint on
there, and it buckles a little but, but
it works.
So here it is, theatrical lighting.
And I like to really start with the bigger
the brush, the better for me.
In general, I recommend kind of a bigger
brush just to
get big planes in fast so I'm kinda
hitting planes.
And what I'm gonna do, is I'm kinda just
gonna, I guess,
I'm gonna go work on my darks a little bit
so
my lights are gonna be kind of a yellow,
orange.
Orange working outside of these planes
here,
yellow as it's closer to the light source.
So the light source is gonna be very hot
white, yellow.
Now the trick to that is not to cool it
off too much, to keep it on the warm side,
to keep it on the orange side.
And as the light is, is, the chroma is
brighter it will start to
lose brightness and intensity as it goes
up.
And my darks particularly, my cast shadows
and
my darks in the hair will be pretty,
pretty dark in this.
So, I guess I'm just going to,
kinda do a lot of complementary color
mixing.
So I'm going to take a cerulean blue and
put a little ultramarine on there.
And I'm going to take an orange and that
will kind of
obviously kill it, kill the intensity, of
it.
And I'm kinda gonna be right in that gray
area because I'm not really looking for
any kind of purity of saturation.
And look, I already spattered pain there
and it looks amazing already.
So, there you go.
All right.
So I want to start off with kinda more,
you know?
And you might want to do this,
I have a tendency to paint pretty thick at
first cuz I've been doing it so long.
But I'd like to work a little thinner here
to kinda just get these values in so that
you could see what I'm doing.
So I'm basically redrawing it with paint.
So this is all kind of a redraw, and this
is going down here.
And I'm taking some of that, paint off
there, so
that I have a little big more control, so
it's not.
[SOUND] Just dripping right away.
Oh, and I'm drawing across the form.
I'm painting across the form.
So the form is here, the mouth and it's
coming this way.
So I, tendency, I have a tendency to just
try to paint
across it cuz I feel like that's how
nature works.
I'm not going against the grain.
I'm not going against it, I'm going along
the form.
I think that's really important when we
work.
In other words, with the barrel of the
mouth here.
See how I'm painting this direction?
Cuz I feel, you know, it's sculptural, I
wanna make sure that, I capture that.
[SOUND]
Kind of just doing a wash over it.
Do a little wash, yeah.
And it's getting that shape of that neck.
And it's all about control, so.
[SOUND]
It's all about really,
keeping true to your drawing and
then expanding, expanding upon that truth.
[SOUND]
Try to just keep as much control as you
can, cuz otherwise, the second you lose
control, it kinda becomes an uphill fight.
And I've been there many times, especially
with complicated paintings.
But once you go there, it's kind of
becomes like,
just working against yourself so
anything you can do to avoid that is, is
best.
Some of those things you can do is keep
obviously a clean pallet, an organized
pallet, because you know, I have students
all the time who just don't wash their
brushes or they are not organized about
how they are keeping their pallet.
And next thing you know, the painting
starts getting away from them, and
I'm like, well maybe you should clean your
brushes and organize your pallet, and
they are like, I don't need to do that.
But, painting and drawing, and I will say
this over and over again, painting and
drawing is hard enough.
Don't make it harder for yourself by not
washing your brushes, and
by not putting clean paint there.
I see so many times students who have dry
paint, and they're just picking at it and
[NOISE] digging into it and [NOISE]
getting it up there, but it's like,
just put some more paint on there.
They're like, oh I don't really need it.
Well, okay.
You know, it's a lot of, it's a lot of
thinking, painting and drawing.
Remember, you're capturing, you're
capturing light, you're capturing value,
you're capturing nature.
And, when you do that, there's really no
reason to give yourself an extra job.
So, as you can see here, and this is like
what I said before, and
I'm holding my brush back like this
because I feel like I want to
run it up and down the planes as it kind
of goes up.
And this has a a lot of orange in this
brush but I'm actually okay with that,
right now.
It goes down it just feel, you're feeling
the planes of this shape as you put it in.
That's too much orange.
Oh, and I got green on my palette.
See, a lazy thing would have been to just
been like, oh, I got some green,
who knows, it might be okay, but no,
that's not what I'm gonna do.
I'm going to fight against, cuz I have a
natural tendency to be lazy sometimes,
and I have to actually fight against that.
It’s kind of tough, It’s like do you wanna
do
the dishes now and save yourself the
hardship,
or, do you wanna just wait until it piles
up and
becomes, insurmountable.
I'd rather do it now.
So that's now just fix it now before it
gets out of control.
You know what I'm talking about right,
that's not, that's kind of a,
pretty relatable.
Okay, so bam.
And, eyelash.
I'm not getting into the persnickety
details, or anything.
I'm just getting into planes.
Plane of that eyebrow, pushing back to
that temporal area,
pushing back to the hair, into the
background.
[SOUND]
Like that,
now this is dirty, my pallet's very dirty,
but it doesn't really matter now cuz I'm
just thinking about value.
It's a little bit like watercolor right
now, you know,
just kind of in a similar way of how
Rockwell used to work.
He used to do, a finished drawing, and
then he would do a,
often times a value key.
He would do his light and dark painting
and, and just blacks and that's,
you know, an under painting and burnt
umber, which is basically taking his,
his full value drawing to another level of
paint and then he would paint it.
It's not too dissimilar to what I'm doing
right now.
Now often times when I put in the eye, I
start with just a square.
Start with just a square like that.
Not so, something.
[SOUND]
Same eyebrow.
Cast shadow
And the eyebrow turns the form at the
corner.
And my photograph is maybe not the best
photograph ever,
but you can't really see any information.
And sometimes, that's a good thing because
you might just say, okay, well, I'm gonna
lose that information out there, cuz it
becomes kind of unimportant information.
It's not my emphasis, it's not really the
poetry of the painting.
So I'm gonna just kinda kill it.
[SOUND]
[MUSIC]
[MUSIC]
This goes up, back, and kinda.
Sometimes when I paint the background too,
what I'm really doing is just kinda
getting some paint off my brush.
Because right here, for example, demands
less paint.
This demands less paint.
So, these movements sometimes are
practical movements so
that I can free my actual brush from
paint.
As opposed to wasting it on here, I'm kind
of just using it here.
So I'm kind of double downing.
Okay.
Now this is obviously gonna go way darker
back here
because it's gonna go darker and a little
warmer.
Just get rid of that with some orange.
Any time you mix orange into blue it, it
neutralizes it.
That's called complimentary color mixing.
So, I'll just do that a lot and just mix
it down now.
Problem is I mixed that with cerulean and
orange, so it's gonna be a dark brown.
See.
It's a little too dark at this point of
the painting.
So that's when I really do have to kinda
take some of that down and take it off.
I'll water it down a little bit.
Like I said, I'm treating it in glaze
stages.
Not typically how I might wanna approach a
painting.
[SOUND] I'm a little bit more aggressive,
but I'm kinda slowing it down.
Doing it slow and low.
It's a little blue.
Pick some orange up.
Pick some cerulean up.
There we go.
That's the dirty little mud pile I need.
Yeah.
[SOUND]
And
I always have kind of a, I always have a
couple of voices going through my head.
My voices are a little bit more of like,
maybe some old school art teachers that I
won't name.
And, they're always kind of picking out
some faults in my painting,
like, yeah, do you really want it that
orange?
Oof, I say that to myself.
I might not say it out loud, but often
times I do.
And I just kinda have gotten used to it
over the years and
taken it as constructive criticism to
guide me.
My Obi Wan Kenobi into the abyss of
painting.
Eesh, oh, don't say that.
Why?
See, that kinda feeling happens a lot.
But I think you really have to be
critical.
You have to be critical, not critical to
where you feel defeated,
but critical to the point where you keep a
real
understanding of I'm still learning, I'm
always learning.
Every single stroke I put down is going to
be better than my last one because I'm
just trying to take my skill set to
another level and I'm trying to grow,
I'm trying to change, and
I'm trying to experience something in a
different way to keep it active and alive.
So, that's really important for me.
There's so much information out there and
so many good artists out
there that just always can get better and
you can always grow.
So, I feel lucky and
blessed everyday.
Blessed that there's so many great
teachers out there,
specifically all the teachers who have in
the lineage of our history.
For example, when I do this painting I
think how fortunate we all are to have,
you know, Edgar Degas, you know,
what beautiful work he made, just really
incredible work.
And his paintings are just there for us
forever to learn from and to appreciate.
You know, he's kind of the inspiration in
a lot of ways for,
just even thinking about doing theatrical
painting because he
was really able to do some of the most
beautiful work in the world.
[SOUND]
And the same with [INAUDIBLE].
I mean, here was a guy who was kind of
born into wealth, and
because of his stature, because of his
physical disabilities,
he was kind of ostracized and was accepted
by the underworld.
He was beloved in that space.
He felt comfortable.
And because of that, he kind of had a
secret portal,
an entree into a world that was taboo to
go into.
Certainly to go into with a box of paints,
with a paint box and pencils.
And he not only went in there, he
experienced it visually,
and spiritually, and emotionally, and
was able to give all of us some of the
greatest paintings ever.
Just amazing.
Both French guys [FOREIGN].
Can't talk French right
now but, I will, I will.
[INAUDIBLE]
Okay.
[FOREIGN]
Okay.
And sometimes you know, and that, just
kidding,
but seriously you know sometimes you wanna
take your character and
try to become it like, you know, actors do
method acting and, you know,
painters often times are, don't really get
into their character enough and
really need to experience, like, what
they're doing.
Kinda like, that's what made it so
beautiful when you look at artists like,
you know, Degas, and Renoir, and Toulouse.
Cause they were able to actually lived
that and experienced it, and that was the,
you know, that was the visual encyclopedia
of their life experiences.
So, oftentimes artists are just kinda
living inside,
which is fine sometimes if you're doing,
you know, what just Dali did or whatever.
Just living in a little insular bubble,
but it's really good to kind of,
to experience that even through
mastercopies.
Sometimes when you do master copies, you
could,
you almost feel like you were there
experiencing what they were experiencing.
So now, I'm just gonna mix up a light.
[SOUND] And like I said, my light is gonna
be.
[SOUND] Yellow.
Light yellow at the bottom.
I'm trying to make sure that it's not too
cold though.
I wanna keep it pretty warm.
And, I'm wetting my butcher tray here so
that I can take a palette paper.
This is called the butcher tray.
I'm taking a palette paper and putting it
down and
kind of sticking it down like that.
So I don't have to clean this off every
time, and I do it,
it's just a pain in the buttocks.
So, to take another brush and kinda mix my
warm.
You could see that yellow right there just
feels so cool.
It's just kinda cold.
I'm gonna warm it up just a little bit
with some orange.
Lighten it up with some white to taken in
a.
Warming it up.
Making it a little bit more palatable.
But, you know, oftentimes, we see keep
referencing them cause they keep
coming into my head, but when you think
about Toulouse, and you think about Degas,
you know, a lot of Toulouse's characters
were like this: sickly,
like yellow, green, white, almost looked
like massive amounts of foundation.
And that, there was something there.
There was something part of that story,
it's part of that world.
Like, it was almost like false face doth
high with a, you know,
false heart doth know.
It's just this kinda like wearing a mask.
And that usually came with a lot of
Toulouse's theatrical lighting paintings.
So, I thought that's really interesting if
I do say so myself.
So, you could see the lights just kinda
coming up and and
kinda beautiful here.
And as it kinda rolls around the form
it'll get darker and warmer.
So, I'll add some warmth obviously,
and then I'll kinda take it down with some
complimentary colors.
So it's kinda warm around that neck, like
maybe not as dark as I have it.
Sometimes I'll just push something down
just to see,
just to give it a little test.
Feels okay, feels okay, and because this
is kind
of in spirit of the impressionists, I'm
just getting an impression of the color.
I'm not worried about, you know,
totally rendering this or
blending it with super precision, but
I'm kinda just getting a quick read as it
goes back in the space, too.
See, I'm getting a little darker value
here.
I'm rolling my brush to get a little bit
of a darker value like that.
And eventually, you know, like that.
And this is kinda my mid.
And this is my mid.
And then as it gets darker towards,
going away from the form,
kinda losing the intensity of it,
and I'll just kind of quickly,
you know, gradate it like that.
It's not.
[SOUND]
This is a fan brush.
Like that.
[SOUND]
[MUSIC]
[MUSIC]
I'm gonna go in and
just kinda give a little bit of a
separation underneath that jaw.
Just a little separation right, like, as
it goes down like that.
Now, it's gotta be even a lighter value.
It's gotta be super subtle, like that.
Not too, see?
Just so subtle, so subtle.
So really genuinely subtle.
And then, once again, I'm gonna come in
with my warm,
even add a warmer warm that hits the
adam's apple right there.
Bam.
Bam.
And I don't really see it in the photo,
but
on the other side of that Adam's apple
I'll cool it off a little bit.
And ironically, I'm cooling it off with
warm.
So, you know, I'm toning it down.
I'm saying there's a plane shift.
There's a front plane and then it kinda
jumps.
And if you like that line, it's still too
dark, just a little like that.
And then, see I can get start getting
really crazy with color right fast and
I think that, there's kind of a certain
triangle shape that that makes there.
Cuz the light is kinda buttressing out.
Like that.
And then the shirt, the actual shirt, you
know, tone it down a little bit.
But basically, the direction of that shirt
is that way.
Same with drawing.
See, it's the same stuff that I do when I
draw.
It's that way.
It's that way, right.
So, it
kinda wraps
that way.
Wraps that way.
Wraps that way.
Goes behind.
Now that background too, will.
Now I'll have to be really, really dark.
And I'm kinda adding black, ultramarine
and a little bit of orange.
So it's not saturated, but it's dark.
So I, my photo, my, my neck doesn't really
curve as much,
but feel like it should, feel like it
should have a little bit more punch.
Like that.
Now, on this side I might lose that neck a
little.
Now I'm gonna take that value, the neck
value and the background value.
And I'm going to mix it together.
I'm gonna hit just right here.
Just to soften that edge a little bit.
[SOUND]
Blend it out.
[SOUND]
Sometimes you don't even have to fan it.
You just touch it.
[SOUND] Like that.
Just soften it just a little bit.
Keep it, keep it, keep it real.
Looking real.
Now with a fan brush, you don't, you just
kinda dip it, clean it.
Dip it, clean it.
You don't wanna go all in there, mixing it
all up, getting crazy.
Okay.
And I'm a very, so you can see a lot of
painters are super clean.
I try to be clean here but with my body
it's, I can't guarantee it.
I just can't.
After all these years, not gonna guarantee
it.
Can't do it.
I can't do it.
But I can guarantee that this value here,
bam.
Like that.
And every move is a calculated decision
about what I'm doing now.
To get those
to get that yellow going down the right
way I'm kinda cooling it off fast.
Right down here.
See, just cooling it off, cooling it off.
Dropping that temperature, dropping the
temperature like that.
Now, somewhere in between here and here,
there's some warmth.
There's no line, necessarily.
There just values.
Values.
Values.
I'm gonna come in.
The under plane here is getting hit.
This under plane is really getting hit
hard.
When it rolls back, it gets hit, gets hit
right there.
Now that lip.
The top lip is going to be light.
But it's gonna have a little kinda crimson
to it.
Right?
Little redness.
I'll just kinda add a little crimson
there.
And it's still not saturated enough.
So I'm gonna add yellow.
Then white and then I'm gonna hit it.
Because it's, it's getting lit.
I'm trying to keep it in the value
spectrum.
But I'm trying to keep it I'm trying to
keep it red.
Because it's red.
So I've added red and I just don't feel
like it's enough.
It's, it's red but it's not red enough.
So.
I'm gonna add some cad red.
Like that.
And just even adding a little tone of that
little accents kinda helps me out.
Bam.
Bam.
That's red.
That's a little red.
It's kinda nice red.
[NOISE] The bottom mouth, bottom lip is
going to be that crimson.
It's gonna be darker.
Hm, and it's really dark so I'm gonna add
a little black.
I'm gonna squint my eyes.
I'm gonna squint my eyes and then I'm
gonna put a,
gonna squint my eyes and put the color
down right there.
Now, acrylic usually dries 15% darker.
So, whatever you make, you gotta kinda
adjust your eyes for 15% darker.
So, right now I'm kinda, I'm okay with
this.
Like that.
I'm just, I'm okay with that.
It's red, but I'm okay with that.
I'm gonna go just way darker in the
corners.
In fact, this might not even be nearly
dark enough, but that's okay.
But just that plane.
Just that little plane right, right in
there.
And like I said, you know, start kinda
loose.
So tighten up as I go a long.
Maybe right here.
Like that.
[SOUND] The light's coming up.
The light's coming up.
And the light's really gonna pop right
about here.
I'm even putting that a little whiter than
I should, a little cooler.
But that's okay for now.
And it's gonna hit here.
See?
So it's gonna,
it's got that pattern hitting here, here.
Right here.
See.
[SOUND] So it's lighting that up.
Now, I'm gonna go back to where I was
before.
And I'm getting a little bit of a
different value here,
because I kinda took that lip color.
But, maybe I'll add a little blue.
And as we go lower into this region, it's
gonna get maybe a little bluer.
Because that's where the that's where my
my beard is.
My beard's gonna be just color-wise a
little bit more blue, and
I kinda like that.
And that's jus, just treat it like a plane
coming out.
Plane as it loses value like that.
See?
[SOUND] The light coming up.
[SOUND]
It's a little much.
Maybe it needs some transitional planes
here.
[MUSIC]
[MUSIC]
So
now I'm kinda coming up to that nose, and
I feel like even though the nose is
dropping back in space, I still feel like
I gotta get a lot of light on it.
So.
[SOUND]
In a kind of, get that
plane going that way.
That way.
That way.
That way.
And.
Side light, not as light, but light-ish
going this way.
This way.
That way.
So.
[SOUND]
Getting that other side of that nose,
this is really where the darkest darks
are, right in here, I feel.
So this is some serious darks coming up,
like that.
That casts a shadow kind of all the way up
to there.
[SOUND]
All the way from here, too.
So, and the casts
all the way onto
the forehead like that.
And if you squint your eyes it's
connecting to the eyebrow which
moves us across.
And this moves us across here.
Now I'm gonna find a transitional value
between that top plane and
the top of that nose where it's hitting.
I think that would be right in the gray
zone.
Bam, like that.
Now I'm gonna come in again with the small
brush
try to hit the top point of that nose with
the real light white
right about here.
Like that.
And kinda softening out.
And you want to get those shapes of those,
the nasal cavity, right.
So the nostrils, I just do a pure crimson.
Rembrandt sometimes used to use just like
a pure crimson.
Of course, it was oil paint, so it's a
little different, but
still kinda feels okay, you know?
So it's like how does it feel?
Does it feel okay?
Then, then it works.
Doesn't feel okay?
It's not working.
Right there.
And then I'm gonna
take that dark here and
kind of get into that shape.
Now that is just weird.
It's just like a triangular shape going
down.
Like that.
Kind of.
[SOUND]
Goes like that.
Now, that's a little dark.
So I might kind of kill just the, whoops.
And find some kind of transitional value
as it moves to this light here.
Like that.
That light there then becomes a little
lighter,
especially when it hits this plain there.
Lighter, lighter.
And I'm starting
to find other areas
that are a little
bit cooler as it
comes back here.
So, I'm using a little bit more of the
cerulean here.
More of a cerulean here, like that.
[SOUND]
And
I will just kinda go for
skin coming down,
softening.
And the skin
coming up,
becoming gray
like that.
It's gray coming
down like that.
And this cast shadow here is
like that.
So, there's a cache right out from that
nose.
It's falling in the cavity like that.
That might be a little much, but it's
going all the way up there.
Now as it gets up there, this becomes way
darker.
Like way, and the cavity there is darker.
As is that side of the brow.
As is this side of the brow.
And kinda wraps down.
Little areas
that could go a little darker is maybe
right here.
That plane.
Very little subtle though.
[SOUND] Now the temperature of those ears
is pretty red,
even though the light's hitting it.
[SOUND] [SOUND] [SOUND] [SOUND]
It's pretty red.
So I would kinda go in with an overall
kind of reddish tint to those
ears just to make it a little bit more
color friendly.
Kind of a dirty red.
Back in the space like that.
I'm gonna take the same brush and then
kinda wipe it across here like that,
just one value, one value really
painterly.
Really painterly, and then I come in, I
come on two things,
I'll come on my darks which is basically
crimson with a little bit of black.
And.
Come on my dark there.
I see a dark here inside the helix.
That's just a little there.
And then I'll come in with my lights,
because the light is gonna be hitting from
below and
still gonna be a little bit redder.
[SOUND] I'd say it's gonna be hitting
right there, maybe too light.
But because it's so back in the head, but,
you know, does it look right?
That's really the question.
And then, it's kind of coming up, hitting
the ears.
Pop pop pop pop, and then.
Moving back to that face, and see I've
already got all my colors here.
[SOUND] I'm gonna give just a little spray
sec, so that I can keep my palette wet.
[NOISE] If I keep my palette wet, that
means that, you know,
I have to constantly mix and mix and mix
and match and match.
And it's acrylic, so it dries fast.
That's the power of acrylics, is that is
does dry fast, but
at the same time, you could lose things
fast.
Lose your colors.
Well, that value coming down like that.
This is kind of, this is not the side
plane.
That dark is the side plane.
Light comes
in around.
So kinda just making.
I would take that dark, the side plane of
his face
all the way down to losing
it to the background, that's what I would
do.
Cause it's kind of irrelevant information.
So I would just lose it to the background,
like that.
And we could always pick it up later, but
for
me, that side plane is there's no point to
it,
just the side plane is going down and then
getting lost like that.
Now, as long as you could see that there's
somewhat,
maybe a tiny continuum here so that we
don't think
that his jaw starts there or anything.
'Kay, so, under those eyes gotta be kind
of lit.
Oh, it's going this direction, right?
It's going like that.
And then, in here, in these eyes cast
shadow.
Cast shadow's getting pulled,
getting stuck in the darkness of his eye,
and I’m gonna lose that brow,
it’s to all this information right here,
for now [SOUND]
[MUSIC]
[MUSIC]
So I wanna get in that eye, actually.
So I'm, so just sclera, which is the
eyeball.
Just gonna kinda do one value like that.
I'm not gonna do the eyeball.
See?
I'm gonna do that value.
I'm gonna do the same on the other side.
[NOISE] I'm making this eye higher cuz
that's kind of interesting.
Because I can and this pupil,
like I said, I put it in.
Flat first, flat like that.
[NOISE] I'm warming that,
warming that up a little,
that dark side.
I feel like it's really dark right there,
and I don't know why.
That kinda pushes the light up.
I guess It's just, just so strange.
But that's the strangeness about this
lighting, right?
[SOUND]
Okay.
So.
It's like a, when, when you're a surgeon,
you have your tools and
you kind of pick each tool, cuz each tool
is functional for something else.
And so right now, I'm kind of picking my
tools for functionality, like.
For this, I kinda want to get into the top
of that lid, but I know that, that's
too light for the top of the lid, and
that's too dark for the top of the lid.
So, [NOISE] I'm kind of going back to this
earlier color
palette where I was kinda, right in here.
And by the way, I just realized that since
I hit that area,
it just doesn't feel like it's thick
enough.
Gotta go back to my lecture,
where I say, always make the neck thicker
than you think it should be.
Cuz otherwise, you're gonna wind up with a
neck like mine.
Now, I'm making it a little prettier,
adding a little pink back there,
cuz everything's a little dark.
And I'm just kind of softening that edge.
I'll make a little also accent.
There, like that.
So.
[SOUND] Kind of washed away.
I might have to lose that ear into the
edge.
Kind of like I did with that neck a little
bit where I kind of just lose it.
Into the atmosphere.
We might have to do that, with the neck.
And this side's okay, being dark.
But not the other side.
[NOISE] Now, let me just kind of lose
the back of that ear for a second,
just to show you how I do that.
So I kinda, that dark background and
I really get that shape right, that shape.
Then I take that local color of the ear,
which is basically red, cad red and white.
And I kinda blend it in and mix it in.
Feels, little too dirty but.
I'll take the mid, the mid area right
there.
Add a little dark
and kind of take it a little bit.
It's kinda blown out.
Then add some, maybe add some pure color
back in.
Like that, then I kinda feel like I
gotta hit some on the other side, like
that.
[SOUND]
And, kinda lose it.
[NOISE] So, getting back
to those eyes, I really.
[SOUND]
I
really feel like you gotta get that right,
that right color in there.
It's red around here.
So it's kind of, if you squint your eyes,
you, you lose it a little bit.
You get it hot in here, and then it kinda
fades off.
So you're gonna wanna paint it that way.
Let's go back to our original.
Yellow, white, hit a little crimson.
[NOISE] Too much crimson.
Crimson is strong, wow.
You forget how strong crimson is till we
put it down you go, I need some
crimson and when you put crimson you go
[NOISE] that's a strong drink.
That is a strong drink right there.
Okay, so that's too fleshy.
Okay.
So, it's a little strong but
might as well keep the drama going, right?
So strengthen that strong in
that area and then we kinda,
take that gray-pink down,
wrap it around the eyes,
we're losing saturation.
Like that.
And.
[SOUND]
There's gonna be that,
kinda transitional color, here.
[NOISE] Like that, and then there's gonna
be that pop.
[NOISE] And that pop is like
right in the corner there.
It's like right in there that's light.
And it's gonna hit the mid part here too,
it's gonna hit the mid part.
Here, and it's gonna pop,
right in there.
[SOUND]
So, get back to that,
that brow ridge light.
I'm gonna trick it out a little bit.
Make it a little bit more, a little
pinker.
A little warmer.
Right around here.
And as I kind of move it back, I'm going
to kind of lose it like that.
I'm gonna roll it back with value and
continue to roll it back with value here.
And really this, my photograph's not great
so it kinda.
[SOUND]
How it goes back into space.
And as it goes.
[SOUND]
Back into space,
here, it's kind of blending with the
background, like that.
[SOUND]
Like that.
[SOUND]
Now as we go up,
the length of the forehead.
[SOUND]
You know,
the temperature is gonna be warmer.
But the value's gonna be dark, so that
could and could not work.
It might need to be cooled down but if
that
does work it could be really interesting
cuz we're just using a photo as a photo.
Photos don't always have the best color
obviously so
we're putting our own color onto it.
Our own color spin.
Bam, bam, bam, bam.
Oh, that's really red.
[SOUND]
And kinda getting
a little bit, into that crimson black
area.
Where, we say, that cast shadow's
coming up and out like that.
And, in the spirit of you know,
Toulouse and De Gaulle,
I like to think that I was painting
this impressionistically,
getting an impression of the figure with
color.
And here.
You know, the shape of the hair kinda
comes down, out.
[NOISE] And will also kind of get lost.
[SOUND]
And there's something nice about that
transparent, like that.
[NOISE]
And this.
Red, which will have to be taken down a
little bit.
It's a little saturatedy.
But I kinda like that.
Feels hot in the forehead, right?
And the hair comes up.
[SOUND]
Now we'll have to do cool way down.
[MUSIC]
[MUSIC]
And all of this color will have to be
toned down.
So.
[SOUND] Come back in and kinda tone things
down a little bit.
But, I like where I'm going color wise but
it's just a, just a bit much, bit harsh.
It's coming up, in this value, like that.
[SOUND]
That eyebrows dipping that way.
[SOUND]
Need a transition value here.
[SOUND]
Can I get,
pull those dark, darks out a little bit?
First of all, I'm gonna put a dark, dark
right in his pupil.
Right, in his pupil like that and then I'm
gonna get the lights [NOISE]
of his eyes to pop a little bit, just to
pop a little bit.
After I get his after I get the tops of
the eyes and, I guess.
There we go,
that's it.
Now.
[SOUND] It's officially spooky.
It's weird.
Now I'm just kind of grayening that gray
down with value.
[NOISE] Now that, there's gotta be a
really, really hot light.
On that nose.
I'm actually gonna put it, right here.
Then I'm gonna take the redness and push
it up.
So it feels like it's surrounded.
And this is gonna be a value there.
This is going to be a value there.
So you're surrounding a light to make it
feel warmer.
Like that.
See the light now feels warmer.
[SOUND]
And.
Oh, well, okay so, there's gonna be a,
little bit more of a blue.
A cool,
on that plane like that.
No, actually,
that's not right.
[NOISE]
Be a cool,
cool light, right there.
Just as there's gonna be one, right there.
Yeah.
[NOISE] That's what I'm talking about,
cool light there,
a little cool there just to cool it off
it's so
warm it needs, needs to be cool down, cool
it down.
Okay and light pop.
Light lower right pop.
So what's that light doing is it's coming
up?
It's coming up, and it will shine light
through, to the other side.
[NOISE] I might, [NOISE] I might just
wanna give it like kind of a lighter
blue on the other side like that.
Wake up, so you [NOISE] see light coming
up like that, bam.
[SOUND]
Now, all this light here has to be kind of
taken away a little bit just because it's
gotta be theatrically lit.
So even though you might like it.
Gotta go.
I don't want it to.
It's going.
No.
Yep.
You gotta take it away.
Don't get attached.
[NOISE] Don't get attached that's the
thing.
You cannot be attached and you cannot put
that light gray down either.
How about that, if I don't be attached
then I won't put my grey down.
[NOISE] Okay.
Gotta talk to yourself.
Gotta talk to you true, who else is gonna
talk you true.
[NOISE] You know, unlike track, where
people actually have a coach to tell
them good, bad, yes, no; we're like our
own track coaches.
So, I'd like to be your track coach.
As we go through this together.
So who's gonna be mine, okay.
[NOISE] Now, we wanna kinda just get in
that,
that last, the last values here like that
and lose.
Lose that edge there.
Lose it into a dark [NOISE] and
blend it together,
so it's not crazy.
Like that.
And, [SOUND] okay.
So I'm just looking at it, kinda analyzing
it.
What do I need to do to kinda close this
out?
[SOUND]
And I think I need to kinda get that,
first of all I gotta get that light there,
a little bit.
And in the same respect, gotta get it
there.
It's a little, maybe not that much needed.
[SOUND]
Mm 'kay.
And, you know, cool it down a little bit.
Right in there.
Yeah, and then.
Still warm, but cooling it as I go down
that face like that.
And then kinda come in with a little bit
of a red gray right along here.
Now is that darker than the ear?
Yeah it's darker then the ear.
So just kinda, kinda glaze a red grey
there.
[SOUND]
And just,
soften that edge here.
Now.
It's important to have the white all
covered up.
And, and then what I can get into a little
bit that,
remember that blue I was playing with on
this side?
Whoops.
Kinda like punch it here a little, feel
like it needs to cool down a little.
Maybe even on the top.
And less here.
Oops.
[NOISE] I wanna pick
up some light,
just a couple lights.
Like this.
And once again, I'm gonna hit that hotspot
right there.
Right there.
Way lighter here.
Way lighter.
That's the only thing with acrylics it's
hard to build up.
That plane there, that cheek, that chin.
The mandible as it turns the corner.
Very thin line, but it turns the corner
pop like that.
Same thing right here, his neck not as
important cuz.
Yeah, it's light coming up but it's not
hitting as hard.
Like that pop.
It might be a little much but just touch
that.
Kinda kill little bit of it.
And that's kinda cool off.
And, [NOISE] the lip, interior
that lip, bottom lip is kind
of catching the most light.
Like that.
Although I don't like what I just did.
I'm gonna hit just a little bit more light
right here.
A little bit more light right here.
And a little bit light here on the inside
of those lids and here like that.
So it feels like the light's really
pushing up.
Catching here.
Catching here and then really on the top
corners here even though I
know it's not as dramatic catching the
brow ridge here.
Catching the brow ridge here but with a
different temperature obviously, right?
So this temperature here has a lot more
red.
And, kind of.
[SOUND]
Kind of fading off.
Into a darker, darker red like that.
Yeah, so, you know, you can keep taking
this far and
far and far and far and far into the
depths of paint world.
But you know, for a basic understanding of
theatrical lighting and.
Below lighting.
It's kinda getting you there.
You know, you're seeing the, the basic
beats of light hitting underneath,
cast shadows.
The effects of really hot temperature,
yellow warms gradating to red warms.
And the effect of being really, really
dramatic, and
how amazingly dramatic you can be.
Just with an angle and with color.
So take this to your own painting and
remember to reference, Toulouse Lautrec
and De Gaulle because they did a lot of
theatrical lighting for more drama.
[Music]