Timestamps: 0:00 - Intro 0:13 - Paint colors 0:34 - Brushes 0:51 - How to avoid muddiness 0:59 - Painting start - pupils 1:25 - Under the iris 1:46 - Glare 3:11 - Messing up is OK, just let it dry 3:40 - Ercolano Red under the pupil 3:55 - Iris 4:18 - Brush pressure 5:08 - Add more white the further from the iris 5:47 - Yellow Ochre in the feathers around the eye 6:51 - Tear duct 7:08 - First layer dry 7:16 - Second layer start 9:14 - Soften harsh details with the 0 brush 10:00 - Finished eye
excellently explained, why certain artists avoid using black even where it is necessary, they use combinations of other colors to get a color closest to black
@@YenneY01 Hi Jennifer, thank you! The closest match in other paint brands would be either Michael Harding’s Venetian Red (PR101) or Winsor and Newton’s Terra Rosa (PR101).
Your specific commentary combined with the demonstration is very helpful. I’d be interested in how you go about getting the detailed drawing developed. Is that traced from a projection? Or eyeballed from the reference.
@@ElHombre-jg2rr Hi Eric, thank you. The drawing is traced via carbon transfer paper (there is a link in the video description). I prefer this method to projectors because there’s no distortion.
@@YenneY01 you can check out different Venetian Red options in my color studies: www.dropbox.com/scl/fo/j82foq9qxzhg5xb73z4kv/h?rlkey=b4s4earhmp3202z7m26i2jj1v&dl=0
Timestamps:
0:00 - Intro
0:13 - Paint colors
0:34 - Brushes
0:51 - How to avoid muddiness
0:59 - Painting start - pupils
1:25 - Under the iris
1:46 - Glare
3:11 - Messing up is OK, just let it dry
3:40 - Ercolano Red under the pupil
3:55 - Iris
4:18 - Brush pressure
5:08 - Add more white the further from the iris
5:47 - Yellow Ochre in the feathers around the eye
6:51 - Tear duct
7:08 - First layer dry
7:16 - Second layer start
9:14 - Soften harsh details with the 0 brush
10:00 - Finished eye
Great tutorial!!
@@donjames7029 thank you, DJ!
💖
Like always, you provide excellent information and it’s a pleasure to see your work.
@@jc-aguilar thank you, Juan-Carlos!
excellently explained, why certain artists avoid using black even where it is necessary, they use combinations of other colors to get a color closest to black
@@jakovj.m.5322 thank you, Jakov! I like black, but it can feel flat without other colors mixed in.
Just discovered your tutorials and I love them! What colour red could I use if I don't have ervolano red?
@@YenneY01 Hi Jennifer, thank you! The closest match in other paint brands would be either Michael Harding’s Venetian Red (PR101) or Winsor and Newton’s Terra Rosa (PR101).
Your specific commentary combined with the demonstration is very helpful. I’d be interested in how you go about getting the detailed drawing developed. Is that traced from a projection? Or eyeballed from the reference.
@@ElHombre-jg2rr Hi Eric, thank you. The drawing is traced via carbon transfer paper (there is a link in the video description). I prefer this method to projectors because there’s no distortion.
Sorry, ercolano
@@YenneY01 you can check out different Venetian Red options in my color studies: www.dropbox.com/scl/fo/j82foq9qxzhg5xb73z4kv/h?rlkey=b4s4earhmp3202z7m26i2jj1v&dl=0