How understanding 'light on form' will dramatically improve your painting. 

Such a good concept to always be thinking about 😎

Thank you Nancy!

Nice. That is huge.. much appreciated! 😎

that's wonderful! I'm glad this is making sense! Means I am doing something right..... 😎

thank you 😎

Thank you so much! appreciate the compliment 🌟🌟🌟🤩

Thank you very much!

Glad you enjoyed!

Glad you think so!

Thank you!

You're welcome!

Yes I did, acrylic.

Haha.... I've never used egg tempura... but would be open to trying. I use acrylics in high school and recently gave water colors a go.... I enjoyed water color even tho they sorta scared me for a long time...

The jaw has also lost its shape between the chin up to the ear

Much thanks... will do!

Much appreciated friend! Glad it moved along at a good pace

Sure thing, I am using Michael Harding.....! It's important that whatever brand you use that it is the PR101 pigment. Also this is only a starting point for flesh tones, and the color can then be adjusted with other colors. Additionally, using the gray underpainting really helps the iron oxide to look more orange-ee in comparison. Hope this helps....

@@paintkerrypaint thank you for your kind reply, and and again for your amazing work, both in painting as in sharing this helpful videos.

Wonderful, thank you! Both the canvas and the palette are toned neutral gray. I usually use Golden acrylics nuetrral gray no. 6, or mix something close to that.

Well... if it's any consolation, I think most humans feel this same way. Nomatter how good they are at what they do. I know I do. I am often confused... I am confused about so many things right now. I have it written down on wall, "Go into the studio everyday, the only thing I know for sure". Also, "make a lot of bad paintings". I really do think a large part of it is practice practice practice...and also making a lot of bad work. It's the only way to get to the good results.... which come in their own time... and randomly.

The likeness is off.... and perhaps I aged him... not sure.... but getting a likeness was not my goal, what was the goal was to demonstrate the modeling factors. Cheers!

Good question. Hmmm... how to explain this.... a shape you put down on paper or canvas is just a shape. It doesn't mean anything yet. It has not yet turned into a thing. In this state, it is still an abstraction. And it's on a flat surface. This is where proportions are most important and where we can be the most accurate. Proportions when you look at them as abstractions are 'tilts' and 'distances'. What is the angle? How much tilt does it have compared to a vertical or horizontal line. These are abstract comparisons because they have not yet become an object you are trying to recreate. Distances are how long the line is, and where is its half way point, and half of each half, etc. This is also abstract at this stage. This is how one can become accurate in a linear drawing for example. And this is what good classical training teaches. Everything is first an abstraction (in this case a 'flat' abstraction since it is on a flat surface) before it becomes the object we are trying to recreate. Flat Abstract Relationships, this is what all good image making is built with. Values and colors are also a system of flat abstract relationships. All image making is built this way. Hope this clears it up a bit.....? Cheers.k

@@paintkerrypaint hey i never thought you'd reply promptly let alone a whole explanation. great to hear your wisdom on this, you really are a wonderful teacher and thanks for taking the time clarifying before you get flooded as you grow later on. I hope you keep doing what you do and keep guiding us. :)

because using a dry brush to blend... leads to blending everything... rather than thinking in terms of building with shapes and planes, which is what gives a painting or drawing it's sense of roundness, or form or structural integrity. Blending for the sake of blending can lead to a finished look but it can also flatten the structure and planes and 3-dimensionality.

@@paintkerrypaint thanks a lot for explaining! Now I understand better

The rules you state of how paintings 'should' be are accurate from a traditional point of view. Thank you.

Have you seen whistlers nocturnes? Or generally his whole work? Drippy paint adds transparency and creates a certain mood. Particularly with first layers . And the masters often kept the grisaille or under painting exposed in the finished painting . We see this in painters like Rembrandt, sergeant , and rubens . To suggest that paint needs to be thickly applied ignores that masters also removed the paint and kept what was underneath as finished. Show me a great painter who routinely used paint in a formulaic way..I’ve never seen it.

Masonite board toned with acrylic paint.

yeah... I thought I would pack this video..... for the peeps out there. The canvas tone is neutral gray. It's the color I was trained to paint on. The benefit is you can immediately compare lighter and darker values and color to easy to see compared to gray. I occasionally use other tones as well.... mostly cool colors such as green or blue as I like to wipe off paint to reveal the color tone when working with flesh tones. Cheers.

I don't think they are two different white colors. He just needed more white on the palette and put out two lines of titanium.

@@ShelleyHannaArtalso it looks like he's using two blobs of white so when he mixes the white with warm colors, it keeps it separate from the cool colors. Otherwise it will muddy the colors and make it difficult to get the color you want. Plus painting is kinda messy and not like adding up numbers.

Thank you! Cheers!