@@SIMPLIFYDrawingandPainting I've been working on the colour temperature exercise on your patreon, so it was awesome to see the same principles applied to a portrait.
This was at the right time! I was having problems with applying paint firmly onto the painting. After seeing this, I found out that I was not pulling out enough paint. This video has also given me a good insight into properly blocking-in the subject, paying attention to the planes and the form. I was also going to use the colour-temperature palette soon, so you uploaded this at the right moment.
As always, the work of his portraits is incredible, incredible that with such a limited palette you have achieved this incredible relationship to the model. Congratulations and thank you for these masterful demonstrations.
Wow that painting is incredible! I want to paint skin tones of all kinds for my webcomic but I am not the greatest at painting digitally watching this gave me some inspiration thanks!
I absolutely love this. You explain things so clearly and I learn so much from your videos! Thank you for showing us your amazing knowledge and skill :)
Great job Alex , you’ve being doing such a great job I just wanted to comment about the color limitation , limited pallets with dark , transparent pigments often tends to mute the colors of the subject and drives you to only use white as the only opaque medium to increase the chroma , so you should always keep in mind that you may need another opaque pigment on your limited palette to get more chromatic colors
Thank you Eslam! I agree, this palette definitely has limitations. Even though it's only two colours, I find it's actually not particularly easy to use. It's ok for flesh colours, but there are many hues that it is impossible to match exactly, like greens and yellows. So it forces you to think about temperature relationships. This is why using this palette is a great learning exercise.
I only used solvent to tone the canvas, after that I only used paint straight out of the tube. I made another video about mediums and the circumstances when I might use them here: ruclips.net/video/22zHMjpdK2Y/видео.html
absolutely awesome demonstration and explanation of the limited palette whch is called the warm-cool is it not? I believe some people switch blue out for black in this palette which also works as well but i think the blue is better because we are actually getting the option to use ACTUAL blue in comparison to just grey. Lovely painting ! I always enjoy your paintings and videos! I have missed your portraits a lot! I would also love to see you doing more figure or still life
Yes black would work, but because this is a warm cool palette and blue is cooler I've always felt it would work better. Also, because the transparent oxide red is quite an orange brown, it could be considered a palette consisting of two complimentary colours. I've heard of artists using, yellow violet or green red combinations and also achieving realistic results? Though I've never tried it. It might be an interesting exercise?
@@SIMPLIFYDrawingandPainting oh wow im not sure ive seen that one before (the yellow violet and green red combo! not for portrait at least?). I do enjoy seeing people utilize green in skintones so i can imagine this complimentary scale actually achieving interesting results!) Please do a video like this someday ! Otherwise i should give it a go myself - not sure i have the right pigments on hand though for the exercise yet! I think Proko used a limited palette of yellow and violet in a plein air once a long time ago and it turned out pretty amazing to be honest - a little like a filter over a photo but still looked very convincing and you'd never have guessed it was a simple purple and yellow palette.
You can definitely mix quite good skin colours for people with lighter skin with this palette. I used to use it a lot for figure painting, But I find my paintings of lighter skinned people done with palette tend to look a little greyer without the chroma in the yellows. So it's probably easier to use something like the Zorn palette that includes yellow. The Zorn palette is also effective for dark skinned models.
Hi, in my opinion, it is amazing this superb painting is produced using only 3 colours. Would Winsor and Newton's Indian Red be a close approximate to Red Oxide, please? Your tuition is in my opinion easy to listen to, well-paced and excellent in content.
Burnt Sienna is a good alternative, but I've never used Indian red. It might be ok, try it. I've heard of painters using Indian red as part of an earth palette, which is the kind of palette earlier renaissance/classical painters would have used? I don't know, maybe something like yellow ochre, Indian or Venetian red, Ivory black and white?
This palette uses a warm brown, like burn sienna. I prefer transparent oxide red to burnt sienna because it is more transparent. Which makes no difference here, but makes it better for mixing dark colours in other paintings.
Great tutorial however I noticed the skin color in your portrait is quite yellow compared to the model's. Is this a fault of the limited palette you chose?
Yes, you're unlikely to be able to get an exact match with with this limited palette. Also, there could be some difference because of the way the camera picks up the colour. The colours when filming never appear exactly like they do in life, either in the painting or from the model.
While I think I am improving on the form of the face, I am having such difficulty with the eyes. My lack of progress in this area is causing my enthusiasm for portraits to wane and I don't want it to. How do you maintain a likeness while using quite thick paint and simple shapes for the eyes and still achieve a fantastic likeness?
I usually aim for something that I can recognise as my subject, sort of like a caricature, right from the start when I block-in all the larger shapes. But with portraiture, once you start adding details to the features, achieving a likeness really does come down to accuracy in drawing. More than any other subject portraiture demands the greatest degree of accuracy. You can still do quite a lot of correcting, but to maintain a likeness without disrupting the thicker paint underneath, it helps if you can place the details in the right place. This is why I like to use the back of my brush to place details because if they're wrong you can just paint over them without making a mess.
@@SIMPLIFYDrawingandPainting Thank you for your generous answer. It always comes down to practice, practice, practice but I am impatient, impatient, impatient
I like using a glass palette with the underside painted grey. I have a couple of different palette boxes, but for these demos I use a cheap ready made photo frame with piece of grey paper behind it.
I love that you share this information. really helps guys like me with no education. But the only criticism I can offer is that your scripts and delivery are a little flat. You talk to us like we're in the special needs class and don't quite understand the words you're using. Great art, great instruction but hard to watch
With all due respect, but Im sorry I don't understand your comment? He was just saying as in darker in comparison to whom he painted on this video. Which is a perfectly acceptable of saying it as no color was implied. However, I do wonder now why you decided to include color in ur comment? Some find being called white just as derogatory as calling some one black.
@@Handles-R-Lame "darker in comparison to whom he painted on this video" I'm not quite sure what you mean by this. Is he painting the person darker than he already is? The way I see 'darker skin' is 'darker than white skin', which implies a certain norm or standard in painting.
Refreshing to see an old school master in the age of duck-taped bananas and "non-material sculptures" being sold for hundreds of thousands $ and €. Thanks, Alex..!
I laughed at the model trying to stay awake! Great vid.
Thank you John!
Geez, what a model, such incredible features and angle
This was a fascinating video, and absolutely magical to see such a brilliant portrait emerge from so few colours.
Thank you John! Glad you liked it.
@@SIMPLIFYDrawingandPainting I've been working on the colour temperature exercise on your patreon, so it was awesome to see the same principles applied to a portrait.
Great video! You do a great job of well....simplifying the process.😅
Gotta say tho, Riaz is really struggling to stay awake😂
Poor Rihaad was having a hard time keeping his eyes open. :D
Really helpful, thanks for not complicating!
This was at the right time! I was having problems with applying paint firmly onto the painting. After seeing this, I found out that I was not pulling out enough paint. This video has also given me a good insight into properly blocking-in the subject, paying attention to the planes and the form.
I was also going to use the colour-temperature palette soon, so you uploaded this at the right moment.
Thank you Nidhi. Glad it was helpful.
I dont know whats best, the pure gold you can scavenge in the video or the model almost falling asleep. Thanks again, Alex!!
I love this guys chill voice and how he doesn’t use music so good
One of my favourites of yours Alex.. beautiful work! :)
Thank you Erin!
As always, the work of his portraits is incredible, incredible that with such a limited palette you have achieved this incredible relationship to the model. Congratulations and thank you for these masterful demonstrations.
Thank you Monica!
Wow that painting is incredible! I want to paint skin tones of all kinds for my webcomic but I am not the greatest at painting digitally watching this gave me some inspiration thanks!
Amazing painting and stunning model
Thank you! Glad you enjoyed it.
like allways, Alex Tzavaras is the best
Thank you very much Maria!
Thank you Alex! Great study and beautifully simplified once again.
Thanks Benny!
Really great video! Very interesting what you can achieve with such a limited palette 🔥
Thank you! Glad you liked it.
Thank's Alex, you explain it so well, simple and informative 🙏🙏🙏
Thank you Azime! Glad it was helpful.
Your videos are always so good. I am working very hard to use thicker paint but find it extremely hard. I love how much paint you pile on.
Thank you Suzanne. Premixing some of your colours with a palette knife is a good way of making sure you use enough paint.
Brilliant job, sir; especially so with your handling of the mouth 👌
Thank you. The mouth was one of the trickiest parts.
This is too much value, please never die
Thank you! Glad you like it.
You make it look so simple! Thank you for the content. Amazing work
Wow...Awesome...❤👏👏👌👌👌👌👍
Thank you Sandy!
like this video always fun to see alex
This is the real mathod of oil painting incaretabl mathod keep going Alex Tzavares.🙏🙏👍🌱
Thank you Yamato San!
Iam waiting . thanks
excelled work,, what a nice demo of flow ,,,thnx a lot sir
Thank you Sunil. Glad you like it,
So excited everytime you post something new! Amazing job!
Thank you!!
Thank you Alexandra. Glad you liked it.
Amazing really amazing. What a knowledge and skill.
Thank you very much! Glad you liked it.
I absolutely love this. You explain things so clearly and I learn so much from your videos! Thank you for showing us your amazing knowledge and skill :)
Thank you Saba! Very glad you like this.
Thanks Alex, love the methodical approach.
Thank you. I love your simplicity and your videos always inspire me.
Thank you Garin!
Totally gorgeous!
Thank you very much Dipak!
On point as usual. I loooooove this video it came just when I needed it
Thank you Ada. Glad it was helpful.
i have a plexiglass whit a grey side i use spraycan to the greyside
That would work.
I just love your videos. Thanks for uploading!
Thank you very much! Glad you like them.
This is fantastic! Thank you for sharing. Love your videos.
Thank you very much Andrey! Glad you like them.
Great job Alex , you’ve being doing such a great job I just wanted to comment about the color limitation , limited pallets with dark , transparent pigments often tends to mute the colors of the subject and drives you to only use white as the only opaque medium to increase the chroma , so you should always keep in mind that you may need another opaque pigment on your limited palette to get more chromatic colors
Thank you Eslam! I agree, this palette definitely has limitations. Even though it's only two colours, I find it's actually not particularly easy to use. It's ok for flesh colours, but there are many hues that it is impossible to match exactly, like greens and yellows. So it forces you to think about temperature relationships. This is why using this palette is a great learning exercise.
@@SIMPLIFYDrawingandPainting yes , I get your point
Wow 👏👏👏 a great demo ☺️
Thank you!
Amazing 👍
Wonderful demo! Thank you!
Thank you Ann! Glad you liked it.
Beautiful work. As usual.
Fantastic tutorial but the model falling asleep is so funny to watch too :D
Thanks! Glad you liked it.
Such a beautiful portrait, your content is amazing thank you
Thank you very much!
Great video! I'll check out your Patreon.
Thank you Michele!
Amazing video. Can’t wait for part 2 on Patreon
Thank you! Part two will be out by the end of this month.
Hello sir great video how to paint like that? Please do the needful and reply sir
amazing as ever
stunning
Thank you!
Wow your very talented!!
Thank you Jessica!
Please Alex make a another real time video.
Fantastic!
Estoy mejorando mucho mi técnica desde que veo tus videos.Muchas Graciaaas. 🙏🙏
Thank you! Very glad you're finding my videos helpful.
Very cool tutorial!
Thank you!
Thank you
Great video!! Do you use any medium or only turps?
I only used solvent to tone the canvas, after that I only used paint straight out of the tube. I made another video about mediums and the circumstances when I might use them here:
ruclips.net/video/22zHMjpdK2Y/видео.html
absolutely awesome demonstration and explanation of the limited palette whch is called the warm-cool is it not? I believe some people switch blue out for black in this palette which also works as well but i think the blue is better because we are actually getting the option to use ACTUAL blue in comparison to just grey. Lovely painting ! I always enjoy your paintings and videos! I have missed your portraits a lot! I would also love to see you doing more figure or still life
Yes black would work, but because this is a warm cool palette and blue is cooler I've always felt it would work better. Also, because the transparent oxide red is quite an orange brown, it could be considered a palette consisting of two complimentary colours. I've heard of artists using, yellow violet or green red combinations and also achieving realistic results? Though I've never tried it. It might be an interesting exercise?
@@SIMPLIFYDrawingandPainting oh wow im not sure ive seen that one before (the yellow violet and green red combo! not for portrait at least?). I do enjoy seeing people utilize green in skintones so i can imagine this complimentary scale actually achieving interesting results!)
Please do a video like this someday ! Otherwise i should give it a go myself - not sure i have the right pigments on hand though for the exercise yet!
I think Proko used a limited palette of yellow and violet in a plein air once a long time ago and it turned out pretty amazing to be honest - a little like a filter over a photo but still looked very convincing and you'd never have guessed it was a simple purple and yellow palette.
Mate needs some coffee :) Great video, thanks Alex!
can i use only three color when paint light skintone and is that also a good way and to learn to paint skintone whit these color
You can try the Zorn palette. Titanium white, Yellow ochre, Vermillion ( I use cad red light) and black. It works great for me!
You can definitely mix quite good skin colours for people with lighter skin with this palette. I used to use it a lot for figure painting, But I find my paintings of lighter skinned people done with palette tend to look a little greyer without the chroma in the yellows. So it's probably easier to use something like the Zorn palette that includes yellow. The Zorn palette is also effective for dark skinned models.
@@SIMPLIFYDrawingandPainting thanks
@@SIMPLIFYDrawingandPainting thanks alex iwill try this first whit three colors first and then late try zorn pallett thanks for your suport
I love your RUclips Channel😁
Thank you!
Hi, in my opinion, it is amazing this superb painting is produced using only 3 colours. Would Winsor and Newton's Indian Red be a close approximate to Red Oxide, please? Your tuition is in my opinion easy to listen to, well-paced and excellent in content.
Burnt Sienna is a good alternative, but I've never used Indian red. It might be ok, try it. I've heard of painters using Indian red as part of an earth palette, which is the kind of palette earlier renaissance/classical painters would have used? I don't know, maybe something like yellow ochre, Indian or Venetian red, Ivory black and white?
Great, Thank you! What is the reason you specificly use transparant oxide red instead of a solid red?
This palette uses a warm brown, like burn sienna. I prefer transparent oxide red to burnt sienna because it is more transparent. Which makes no difference here, but makes it better for mixing dark colours in other paintings.
The limited palette works well
Yes, I reckon it's very good for flesh colours and quite easy to use.
@@SIMPLIFYDrawingandPainting yes could focus on the tones more
Great tutorial however I noticed the skin color in your portrait is quite yellow compared to the model's. Is this a fault of the limited palette you chose?
Yes, you're unlikely to be able to get an exact match with with this limited palette. Also, there could be some difference because of the way the camera picks up the colour. The colours when filming never appear exactly like they do in life, either in the painting or from the model.
While I think I am improving on the form of the face, I am having such difficulty with the eyes. My lack of progress in this area is causing my enthusiasm for portraits to wane and I don't want it to. How do you maintain a likeness while using quite thick paint and simple shapes for the eyes and still achieve a fantastic likeness?
I usually aim for something that I can recognise as my subject, sort of like a caricature, right from the start when I block-in all the larger shapes. But with portraiture, once you start adding details to the features, achieving a likeness really does come down to accuracy in drawing. More than any other subject portraiture demands the greatest degree of accuracy. You can still do quite a lot of correcting, but to maintain a likeness without disrupting the thicker paint underneath, it helps if you can place the details in the right place. This is why I like to use the back of my brush to place details because if they're wrong you can just paint over them without making a mess.
@@SIMPLIFYDrawingandPainting Thank you for your generous answer. It always comes down to practice, practice, practice but I am impatient, impatient, impatient
what do you use for pallet mostly do you have a favorite
I like using a glass palette with the underside painted grey. I have a couple of different palette boxes, but for these demos I use a cheap ready made photo frame with piece of grey paper behind it.
I thought the model was just a picture so still he was🙈 Then I thought I was going crazy when the picture seemed to blink😅
👏👏👏
I love that you share this information.
really helps guys like me with no education.
But the only criticism I can offer is that your scripts and delivery are a little flat. You talk to us like we're in the special needs class and don't quite understand the words you're using.
Great art, great instruction but hard to watch
🙏👏👏👏👏👏👏………
Did he just blink?
He's sleepy 🤣
I love this. Just fyi, it's OK for white people to say 'dark skin' as opposed to 'darker skin'.
With all due respect, but Im sorry I don't understand your comment?
He was just saying as in darker in comparison to whom he painted on this video. Which is a perfectly acceptable of saying it as no color was implied.
However, I do wonder now why you decided to include color in ur comment? Some find being called white just as derogatory as calling some one black.
@@Handles-R-Lame "darker in comparison to whom he painted on this video"
I'm not quite sure what you mean by this. Is he painting the person darker than he already is? The way I see 'darker skin' is 'darker than white skin', which implies a certain norm or standard in painting.
Refreshing to see an old school master in the age of duck-taped bananas and "non-material sculptures" being sold for hundreds of thousands $ and €. Thanks, Alex..!
This is a brilliant demo. 3 colours!!! 1 sitting
Thank you Jack!