This is a good lesson on understanding direct light on solid objects (a head) in a contained space (a room). I teach my students in a similar manner; painting over blocked in portraits is a great way to show how the light and dark areas affect the round form. I hope its ok to make a few comments here on how light illuminates forms... If students want to understand how light travels in a contained space, think of a dark room with a seated figure, then a light is switched on and that warm light (usually warm) floods over the figure. Any reflected light will come from objects closer to the figure, usually with cooler shadows. (These other objects also have local color that can reflect back onto the form.) A reflected light source usually bounces back into the opposite, or shadow side of the face, giving the face a softer roundness. Usually, for portraits, the direct light is strong enough to dominate the lit side of the head. Artists of the past often just used candlelight as a single (warm) source which cast deeper shadows. (Chiaroscuro) Where heads have bony planes, those are sharper edges relative to flat light across the forehead, or sharper where the light hits the side plane of the nose, etc. For the fatter 'planes', which are naturally more round, those areas will have a softer transition from light to dark. Add secondary lights or reflected surfaces and the face is illuminated by more light and usually looks fuller. You will see this softer light outside on overcast days, and more contrasting light from direct sunlight, which can be applied to landscapes with great effect. I love the physics aspect of painting, when simple color shapes begin to look like real forms. Your mind can fill in blank areas or tell you if it is or isn't working. By breaking these basic rules of light and shadow, you begin to explore more abstracted elements, as in the early impressionists' paintings.
That was the best 12 min I spent today. Very informative with a great demonstration. I love demonstrations. By seeing you change values and warmth really hit home. Thanks!
@@Faiza_Hassan thank you for your suggestion Faiza. I will do that. I do have a free video on my web site on all the supplies I use, it’s at the end of my teaching page on the bottom.❤️
@@ArtHorizonLyubovnaya Dear Regina Lyubovnaya Your website link I didn't find anywhere. It's neither in the video description nor in your channel's bio.
Your videos have been very informative! I always make the shadows too light and end up stifling the value of light shapes. A question: why do you use duct tape for your paint blogs instead of putting them directly on your palette? Thank you!
Thank you Regina ! You are a great artist and teacher!
@@mariaelenasayan3814 Thank you Maria so much❤️🎨❤️
This is a good lesson on understanding direct light on solid objects (a head) in a contained space (a room). I teach my students in a similar manner; painting over blocked in portraits is a great way to show how the light and dark areas affect the round form.
I hope its ok to make a few comments here on how light illuminates forms...
If students want to understand how light travels in a contained space, think of a dark room with a seated figure, then a light is switched on and that warm light (usually warm) floods over the figure. Any reflected light will come from objects closer to the figure, usually with cooler shadows. (These other objects also have local color that can reflect back onto the form.) A reflected light source usually bounces back into the opposite, or shadow side of the face, giving the face a softer roundness. Usually, for portraits, the direct light is strong enough to dominate the lit side of the head.
Artists of the past often just used candlelight as a single (warm) source which cast deeper shadows. (Chiaroscuro)
Where heads have bony planes, those are sharper edges relative to flat light across the forehead, or sharper where the light hits the side plane of the nose, etc. For the fatter 'planes', which are naturally more round, those areas will have a softer transition from light to dark. Add secondary lights or reflected surfaces and the face is illuminated by more light and usually looks fuller. You will see this softer light outside on overcast days, and more contrasting light from direct sunlight, which can be applied to landscapes with great effect.
I love the physics aspect of painting, when simple color shapes begin to look like real forms. Your mind can fill in blank areas or tell you if it is or isn't working. By breaking these basic rules of light and shadow, you begin to explore more abstracted elements, as in the early impressionists' paintings.
Thanks again Regina. Very well illustrated - and a help on my current landscape painting too :)
Thanks a lot for this video. I hope you find positive inspiration to keep sharing new lessons. It's very helpful. Thanks again.
Thank you so much, your message is my positive inspiration❤❤❤
I’ll check this class more than once…. Fantastic thank YOU
Thank you so much❤
This is super helpful and informative as usual: Regina is an amazing artist and teacher!!
@@sabid100 thank you so much. I really appreciate it.❤️🎨❤️
I’m so blessed to have found your channel. You’ve helped me fix a little problem I had. Thank you!!!
@@justiceLaw0000 Thank you so much, you’ve made my day❤️🎨
Great info, thank you for explaining things so clearly! 🌸
I love your teaching. So glad you're on RUclips now.
Excellent work and tutorial 😊
Thank you so much Michael❤️
That was the best 12 min I spent today. Very informative with a great demonstration. I love demonstrations. By seeing you change values and warmth really hit home. Thanks!
@@Handotr Thank you, it’s so nice to read you inspiring me to do more❤️🎨❤️
So much valuable information, Regina! You are so generous in sharing your knowledge.
You are so welcome, Jim. Thank you for all your comments.
Thank you Regina. Very good video.
@@sylvain_st_pierre_2019 thank you so much❤️🎨❤️
Excellent video, Regina. Thank you!
You are so welcome!
Thank you for your very valuable teaching.
Thank you Julie❤️
This was an excellent video. Thank you so much.
Thank you so much Robin❤️🎨
bruh why only now active... your teachings rawk!!!! digital artist here transitiong to traditional medium . very clear teachings love it!
Thank you so much, I wish I could do digital art❤️🎨❤️
So helpful ! Thank you so much . Can you please tell about your colour palette?? What colours you have in you palette?
@@Faiza_Hassan thank you for your suggestion Faiza. I will do that. I do have a free video on my web site on all the supplies I use, it’s at the end of my teaching page on the bottom.❤️
@@ArtHorizonLyubovnaya Dear Regina Lyubovnaya Your website link I didn't find anywhere. It's neither in the video description nor in your channel's bio.
@@ArtHorizonLyubovnaya Update: I found your website but you might want to add link in you bio so that more people can get there . ❤
Your videos have been very informative! I always make the shadows too light and end up stifling the value of light shapes. A question: why do you use duct tape for your paint blogs instead of putting them directly on your palette? Thank you!
I use duct tape on my pallet, so my paints don’t slide down while I’m using it vertically, but they still do anyway