This painting looks nothing like the original. He couldn't even get the colours right. Dreadful and completely misleading. Old Dirty Masters has this same painting but the technique used and end result is not like this mess.
I also loved when you said, "Painting is like a mindfulness exercise, where you are constantly dealing with details, and you need to go back to simple shapes." Woot!
I was desperately looking for an excellent artist who doesn't paint boring and cold hyperrealistic paintings. Here you are! So much to learn for someone like me who's been painting for ages and ages in a boring and cold hyperrealistic way. I hope to get rid of that although I know it won't be easy. Thank you so much and congrats for your great works!
Thank very much! Glad you like my videos. To key to working in a more painterly way is to learn to simplify your subject in to larger underlying shapes or "masses". Which you do by simplifying the main values, a theme that runs through many of my videos. Apologies for the blatant plug, but you may also be interested in my mass drawing course on my Patreon channel: www.patreon.com/simplifydrawingandpainting
Hi Alex, I think you are a very good Artist and I enjoyed this video very much since I have studied Velazquez and is my favorite painter. Thank you. In your video of Sargent I did mention that he did study Velazquez Paintings. I wanted to share a anecdote of one of Velazquez Paintings. Gaspar de Guzmán, Count-Duke of Olivares, on Horseback. This painting measures 313cm, 123in. x 239cm x 94in, Huge painting. It hangs at the Royal palace of Madrid. I read when they took the painting down for restoration and the experts where shocked to see the dimensions of the horse ass was so incredible huge that looking at the painting by eye view it was totally out or proportion, they say they couldnt understand why Velazquez would paint like that, until the came to the conclusion that the painting was not going to be hung at eye level but at 4 meters high. So of course when The painting was hung back in its play the horses ass was perfect. His mastery of dimensions was astonishing. I believe Velazquez was a Master of Masters. With only respects to other great old Masters. I will continue to follow you Alex, since I learn a lot of your secrets. Thanks again.
Based on your wonderful teaching, I have begun my first canvas in over 20 years. Whenever I make a mistake, it's because I forgot an important step you have taught me. But because you have also taught me to scratch out, remove areas and do it again, I have - and it's thrilling to be painting again and without fear. Thanks so much!
@@SIMPLIFYDrawingandPainting It’s almost like charcoal in a way. I try to focus on larger shapes while being able to erase my charcoal tone due toned charcoal paper being so lenient in mistakes.
Your video “portrait painting from life” really helped me!! I can’t believe the difference between my art from yesterday and after I watched your video. Thank you so much
this is the first time ive been able to actually understand this concept (technique)even though ive read it watched it demonstrated in other ways. Ive watch others such as Zim Lim, and thought he had some super power of vision and technique, but now i see,,,,,,im beginning to see what you (and Zim) are doing. Thank you!!!
I am not sure if I am a big fan of watching others paint instead of me practicing, but I always make an exception with your videos. Great-great lessons with countless useful tips. Thank you and I am waiting for the remaining part(s)!
LOVE that trick using the back of the brush to dig out landmarks for later. This is always the problem with oil painting for me - that you lose the underlying drawing as you block in colors. Your trick is brilliant - helps you keep it tight and defined.
Thank you Christopher. When you put down paint, because it is a liquid you're inevitably going to loose some of the underdrawing. So you constantly need to be re-evaluating and re drawing shapes as you go. If you're always trying to hang on to the underdrawing, you'll be scared of putting down paint, so you work will tend to end up looking a bit tight.
I can't wait to see part two. I've always enjoyed learning and you are a marvelous teacher. Thank you so much for taking so much time and sharing your knowledge during our quarantine. Stay well and cheers!
Thank you for the great block in demo. I have painted along with your mass drawing classes, but there is so much to learn from following this Valazquez.
This is a great exercise! And tI cover a lot of ground in this full length demos. It's interesting that they haven't had as many views as some of my other videos. Maybe it's the algorithm, or just that people aren't as interested in master copies? But people always keep asking me for a real time demo and I figured a master copy would be better than a photographic reference, to follow along too.
I love the way you explain the planes and develop the way to look for them. I really enjoy watching your videos because it makes sens to me. Then i can go back on my portrait and look for the shapes and lignts. Love when you point out alignement of the forme and divide it into simple shapes. Thanks a lot Alex . It helped me te see and to know what to look for.
Great video 👍🏻nice explanation of brushes and stroke directions for avoid reflections . I can’t wait to try the rosemary brushes I’m ordering 👍🏻 can’t wait for part 2
Thanks Alex for your kindness. I´m trying to learn oil painting - but I've strugled with the initial lack of practice - I´m kind of experienced with drawing - I draw with charcoal pencil for years ... I did some atempt in oils but I got stucked - Then I saw some digital painting video tutorials and give it a try - As I master photoshop - I got decent results ... It is being proftable, since I can improve in some aspects in digital faster than traditionaly ... But I´m thinking to switch back - When I saw your video I thought in making a copy along with this tutorial - step -by-setp - LOL - to avoid missing any step! Cheers!!
By the way you were sooo sooo kind, because editing such a long video with explanations, it takes a loooot of time - I know that! So I´m glad and I´ll pray to god bless you! :)
Absolutely fascinating to watch the early block-in preparation for the first stage of the portrait and a very good verbal explanation by the artist. I think it encourages the artist to be patient and to slow down and carefully consider the early stages. I'm here to testify that It is going to take some real self control to do this! Thank you, Alex, for demonstrating the importance!!
Thank you Emily, for me the block in at the start is the most important stage of the painting. We all have a tendency to rush into detail to soon, but we must really try not to until we have established all the larger value masses.
It is impossible for the lower middle class in some Asian countries to buy such a good lesson with the equivalent of foreign money. So many many thanks Master for helping with these free lessons.
It was very usefuly to get a ´real time´perspective on the painting/portrait and see where you take your time in order not to make mistakes that need corrected later (saving time overall). It is very well done, methodical and motivational Alex. I think I am being drawn towards the Patreon thing!
Thank you. My mass drawing goes into this optical approach in much more depth. Explaining exactly how you simplify your subject into flat shapes and then draw with them.
Hey Alex, I hope that you are doing great! I made a painting kind of following your steps and I have stoped right in the end of the beggining too! I´m looking forward for the next vídeo. I had some issues, as I´m a begginer... I made a printing which turn into a little greenish - And the redish black (for the dark block in) did not fit at all for me - But I realized it too late. So the first two dark colors I´ve mixed as you - But after, for the mid skin tone, I aimed to my reference... So as you might guess... And in the end I saw the problem... (that the darkest darks are too red in comparison with my light family) Anyway, painting it was fast and I have a great time doing it. Finally I found join in painting, so thank you so much! Hugs from Brazil!
Well done! Yes, the colours all relate to one another. This is what its good to try and get the colours for the large areas right, during the block in.
@@SIMPLIFYDrawingandPainting Nice Alex, thank you! I made a Head cleaning on my printer and print It again with a Very Nice colour. And also this time I edited the reference luminosity quite heavy. If you look into Photoshop histogram you Will see that the luminosity its too way low Key. Anyway, I was abble to remove the Paint and i'll try to tweak the hue/values whenever I can, otherwise I'll start it again! ✌🏿 Thank you Alex and Hugs!!
I made a video on how long it took me to learn to paint where I show some of my earlier paintings: ruclips.net/video/nHI_LmFBVTg/видео.html You also might want to check out my website: alextzavaras.com or instagram where you can see some of my more recent work: instagram.com/alex_tzavaras/
Hi, gr8 work . I hav been searching for videos like this one for so long. I would really love to see you do a live stream working from a photograph as it is hard for me to simplify the colours from the photos and not get too caught up with the artificial camera like detailing. Thank you love from India. ❤️
I am eventually thinking of doing a video on how to use photographic reference. But first, I've got to finish this one. And then I've got to get back to the series of videos I had originally planned on doing before lockdown started, on Art materials.
Nice tutorial. The only thing I miss sometimes in this master copies is not trying in fact some old techniques, as you say, the use of calcite and putty in colors (not only in white, barroque artists used in differente colors) to create different tones and colors or glazing wiht mediums. Of course this techniques were used because they lack the huge range of colors and pigments we have nowadays... but still is interesting to know them.
Hi there Alex, how are you? Fred here, brazilian guy, student from lavender hill course. It has been a while. I showed you the Malcolm Liepke's book, back in 2008 or so, remember me? I still have a copy of Laszlo book you recommended back then. Nice to see your work developing so much. Amazing stuff! Congratulations for the channel. So much good art pieces. Thanks for sharing. Cheers!
Yes I remember. Didn't you also show me How to paint a portrait in 29 steps by John Howard Standen? Back in the day haha. How are you? How's your painting going?
@@SIMPLIFYDrawingandPainting Yes! Indeed! Howard Standen's books is awesome as well. My book collection right now is so big I have to store a huge chunk of them at my parent's house. I am doing ok, thanks. You should consider release an art book with your processes, paintings and sketches. Why not try a crowd funding endeavor? Me, I ventured for a while in the restaurant field as business owner but decided to give art a second shot again recently. If you have some spare time, check out my artstation page; look up for Fred Studart. I have been doing mostly digital paintings. Cheers mate.
Thank you so much from over here in New York City for posting a great video - I have the luxury of seeing this painting in the flesh as it were as I live in Manhattan where this painting lives at the Metropolitan Museum of Art - I have seen this painting many times and is happens to be my favorite - As I understand it this painting was a sort of practice before he painting Pope Innocent the X which is an amazing portrait in it's own right - My other favorite at the Met is a painting by Frans Hals of Portrait of a Man, Possibly Nicolaes Pietersz Duyst van Voorhout a wealthy brewer - You could try painting that one too - it would be interesting to accent his particular style as Hals was a little different in his paint handling - I think the format of your videos by the way is fine - I prefer it if only for the fact that you can edit and add information you might have missed - I don't think I personally mind not seeing the palette either as long as you say what colors your mixing and why - I do have a question - at this point in the process would you let this layer dry first or can you paint wet in wet - thanks
I actually painting this in a single session, around 3.5 hours so it was wet on wet. But had I needed to, I could have left it and come back to it, I would have done it in the same order. Starting with the block in, with quite thin paint, ready to come back and paint onto it.
Thank you so much, maestro! Your brilliant rendering shows your perceptive eye and miraculous mastery of proportion, value and color. I remember seeing the original Velazquez at the NY Metropolitan Museum in the 60's after they had just purchased it for Five million. Outrageous! Worth 100 times more now.
Alex I love your work and I admire your hand and eye tenacity in following the model’s indications on blocking the planes, but I have a chromatic observation regarding the historic nature of your reproduction. You mentioned Caravaggio as model for the Velasquez’s tenebrist technique but this is valid only for the first part of his carrier under the guidance of Pacheco. In 1627 Rubens was visiting Spain. He meets Velasquez and after, the Spanish master changes his technique, beginning with simple works like the portrait of Philip IV from 1628. In 1630 the technique is fully mastered in Maria Ana of Spain and the two landscapes at Villa Medici, in his first journey to Italy, but Juan de Pareja is dating from his second journey, in 1650. In the book you mentioned says that the last painting Velasquez used a dark background (calcium carbonate + organic black + ochre + a layer of reddish „tierra de Esquivas”) was Joseph’s Coat dating 1630, first journey to Itally and from same year we have the first innovative work: The Forge of Vulcan where he used for background lead white (more transparent and not so dense as the calcium carbonate) applied with a palette knife. This is maybe a Venetian technique because El Greco used it also... So the background would look like in this study of Apollo: i5.walmartimages.com/asr/3fa7df8b-560c-46a5-8e87-41a21cc49fde_1.c76e2d29f4a1bf359a5a0232b6a72fd9.jpeg?odnWidth=612&odnHeight=612&odnBg=ffffff, very similar with this study of a Van Dyck portrait: arthive.com/res/media/img/orig/work/fa1/442315.jpg . Same warm colored-gray appears also as background in a portrait from same journey as Pareja’s portrait: Brandani’s portrait (see the fine covered collar: www.museodelprado.es/en/the-collection/art-work/ferdinando-brandani/b6dd29d3-0e43-4bce-875f-598deaf64ced ). This means you used a kind of grisaille technique (specific to 19th century neoclassical period) ameliorated with red oxide as passage between background and light. Actually if we watch carefully the Van Dyck study, the white is actually a kind of „pink” (red iron + lead white + vermillion for cheeks and not only + chalk for texture) that applied in thin layer over the ochre-green background becomes grey neutral in shadows and distanced planes, and is used in more dense (and warmer) layers, on prominent and enlightened planes. The difference is that Velasquez added more red in the „pink”, so the shadows are more green-orange-like colored (see the inferior eyelids of Pareja) and the Background is not warm-greenish, but black and cold-gray-green, in order to emphasize the light and the warmth tones on the portrait (not to become darker otherwise).
Thank you Rona! You could try painting along to this one, because you can download a high resolution image of the original painting by Velázquez from the Metropolitan Museum of Art's website. You'll find a link for the download in the description. I also made part 2 and part 3 of this master copy so you can watch my finish this portrait. I also have more portrait demonstrations filmed in real time like this one, over on my Patreon channel. I have provided reference images of my models so you can follow along.
I love that you had to try a few times to get the colour right. I have been beating myself up about struggling with colour. I just needed to see you do it too!
A wise artist once said "Painting is a process of correcting mistakes". You must never expect to be able to get something right as soon as you place it on the canvas. Drawing is the same, you're constantly adjusting shapes until you achieve the right result.
I'm working on it now. It's been taking longer than expected. I've also been working on other full length demos for my Patreon channel, and they take me ages to write.
Hi Alex! Thank you so much for this extraordinary demo. I'd like to give it a try. Was wondering: in this case the Oxide Red can be replaced with a Burnt Sienna?
Thanks Francesca! Yes, you can replace the transparent oxide red with burnt Sienna. They're practically the same colour though the transparent oxide red has better light fastness and tinting strength.
@@SIMPLIFYDrawingandPainting Thank you so much for such a prompt and detailed reply, Alex. I am also following - and truly benefitting from - your course on Patreon. Hope I have at least two exercises and maybe this Velasquez copy, completed by next month. If so, I'll try to arrange the 30 min Skype call with you. Would love to. With gratitude, Francesca.
Thanks so much for your teaching! Is there a specific link to the Museum for the high resolution photos of these master paintings? (I went to the site but couldn’t find where to download)
The second part of this will be out on my RUclips in the next week or so. My next video on the Patreon course will be Mass Drawing Part 3. I don't intend to put any of the same videos on both channels. This is the first real time demo I've ever done on RUclips, but it still isn't as structured as my courses on Patreon.
9:15 I think this is ignoring the factor of binocular vision to perceive depth. If you stand motionless, wearing an eyepatch, then a painting might be indistinguishable from 3D reality.
What a Master Class! this method is the best you can find! thank you, thank the internet, thank god... yuor videos are awesome. tnks Mr Canvas.
This painting looks nothing like the original. He couldn't even get the colours right. Dreadful and completely misleading. Old Dirty Masters has this same painting but the technique used and end result is not like this mess.
I also loved when you said, "Painting is like a mindfulness exercise, where you are constantly dealing with details, and you need to go back to simple shapes." Woot!
That's very generous of you Alex. Those series are helping us a lot.
I love that you talk about the artist life and work while painting. It makes it a very complete experience.
I was desperately looking for an excellent artist who doesn't paint boring and cold hyperrealistic paintings.
Here you are!
So much to learn for someone like me who's been painting for ages and ages in a boring and cold hyperrealistic way.
I hope to get rid of that although I know it won't be easy.
Thank you so much and congrats for your great works!
Thank very much! Glad you like my videos. To key to working in a more painterly way is to learn to simplify your subject in to larger underlying shapes or "masses". Which you do by simplifying the main values, a theme that runs through many of my videos. Apologies for the blatant plug, but you may also be interested in my mass drawing course on my Patreon channel:
www.patreon.com/simplifydrawingandpainting
@@SIMPLIFYDrawingandPainting thank you
Superb tutorial!I have been looking everywhere for good instruction and at last I found one. Thank you so much
Hi Alex, I think you are a very good Artist and I enjoyed this video very much since I have studied Velazquez and is my favorite painter. Thank you. In your video of Sargent I did mention that he did study Velazquez Paintings. I wanted to share a anecdote of one of Velazquez Paintings. Gaspar de Guzmán, Count-Duke of Olivares, on Horseback. This painting measures 313cm, 123in. x 239cm x 94in, Huge painting. It hangs at the Royal palace of Madrid. I read when they took the painting down for restoration and the experts where shocked to see the dimensions of the horse ass was so incredible huge that looking at the painting by eye view it was totally out or proportion, they say they couldnt understand why Velazquez would paint like that, until the came to the conclusion that the painting was not going to be hung at eye level but at 4 meters high. So of course when The painting was hung back in its play the horses ass was perfect. His mastery of dimensions was astonishing. I believe Velazquez was a Master of Masters. With only respects to other great old Masters. I will continue to follow you Alex, since I learn a lot of your secrets. Thanks again.
Your teaching is superb! I've learnt a tonne from this and your other videos
Based on your wonderful teaching, I have begun my first canvas in over 20 years. Whenever I make a mistake, it's because I forgot an important step you have taught me. But because you have also taught me to scratch out, remove areas and do it again, I have - and it's thrilling to be painting again and without fear. Thanks so much!
Thank you! Good luck with it.
@@SIMPLIFYDrawingandPainting It’s almost like charcoal in a way. I try to focus on larger shapes while being able to erase my charcoal tone due toned charcoal paper being so lenient in mistakes.
That canvas looked slicker than goose snot. I would fine that slick a surface impossible to work on. Great job on a challenging subject
Your video “portrait painting from life” really helped me!! I can’t believe the difference between my art from yesterday and after I watched your video. Thank you so much
Very, very much grateful for the history behind paintings and artists. Makes me appreciate art even more!
Hey Alex Thank you for your teaching, i need to see the next part of this video, Thank you, God bless you
this is the first time ive been able to actually understand this concept (technique)even though ive read it watched it demonstrated in other ways. Ive watch others such as Zim Lim, and thought he had some super power of vision and technique, but now i see,,,,,,im beginning to see what you (and Zim) are doing. Thank you!!!
Absolutely wonderful three videos. More like this please!
I am not sure if I am a big fan of watching others paint instead of me practicing, but I always make an exception with your videos. Great-great lessons with countless useful tips. Thank you and I am waiting for the remaining part(s)!
I'm currently working on it. Hopefully it will be out very soon.
Thank you so very much. It's very instructive. Looking forward to part two and Patreon.
LOVE that trick using the back of the brush to dig out landmarks for later. This is always the problem with oil painting for me - that you lose the underlying drawing as you block in colors. Your trick is brilliant - helps you keep it tight and defined.
Thank you Christopher. When you put down paint, because it is a liquid you're inevitably going to loose some of the underdrawing. So you constantly need to be re-evaluating and re drawing shapes as you go. If you're always trying to hang on to the underdrawing, you'll be scared of putting down paint, so you work will tend to end up looking a bit tight.
I can't wait to see part two. I've always enjoyed learning and you are a marvelous teacher. Thank you so much for taking so much time and sharing your knowledge during our quarantine. Stay well and cheers!
Thank you very much Robert!
Thank you for the great block in demo. I have painted along with your mass drawing classes, but there is so much to learn from following this Valazquez.
This is a great exercise! And tI cover a lot of ground in this full length demos. It's interesting that they haven't had as many views as some of my other videos. Maybe it's the algorithm, or just that people aren't as interested in master copies? But people always keep asking me for a real time demo and I figured a master copy would be better than a photographic reference, to follow along too.
You helped in so many elements I can't even list them all here. Thank you SO much for th
Thank you for watching. Glad you found it so helpful.
I love the way you explain the planes and develop the way to look for them.
I really enjoy watching your videos because it makes sens to me. Then i can go back on my portrait and look for the shapes and lignts. Love when you point out alignement of the forme and divide it into simple shapes. Thanks a lot Alex . It helped me te see and to know what to look for.
Thanks, sitting coronalone for 2 months, this is a treat.
Great video 👍🏻nice explanation of brushes and stroke directions for avoid reflections . I can’t wait to try the rosemary brushes I’m ordering 👍🏻 can’t wait for part 2
Oh my goodness, your palette would drive me crazy! 😂 I have to clean mine between paintings or when the paint dries. Love the video, thank you!
Thanks Alex for your kindness.
I´m trying to learn oil painting - but I've strugled with the initial lack of practice - I´m kind of experienced with drawing - I draw with charcoal pencil for years ... I did some atempt in oils but I got stucked - Then I saw some digital painting video tutorials and give it a try - As I master photoshop - I got decent results ... It is being proftable, since I can improve in some aspects in digital faster than traditionaly ... But I´m thinking to switch back - When I saw your video I thought in making a copy along with this tutorial - step -by-setp - LOL - to avoid missing any step!
Cheers!!
By the way you were sooo sooo kind, because editing such a long video with explanations, it takes a loooot of time - I know that! So I´m glad and I´ll pray to god bless you! :)
Thank you very much
Thanks for this demo, it was a treat and has encouraged me to get out my paints and try oils again after a long break from them.
Simply mesmerising to watch and educational too. Thanks, Alex, for another inspiring video. I have learnt so much to apply to my painting technique.
Thanks again Elaine! Glad this was helpful.
@@SIMPLIFYDrawingandPainting 👍
your videos are amazing,
you are a great instructor, Alex Tzavaras!
Thank you!
Absolutely fascinating to watch the early block-in preparation for the first stage of the portrait and a very good verbal explanation by the artist. I think it encourages the artist to be patient and to slow down and carefully consider the early stages. I'm here to testify that It is going to take some real self control to do this! Thank you, Alex, for demonstrating the importance!!
Thank you Emily, for me the block in at the start is the most important stage of the painting. We all have a tendency to rush into detail to soon, but we must really try not to until we have established all the larger value masses.
Total garbage. He didn't even tone the canvas correctly. It would have been a dark rose not grey. A gross insult to the artist.
wonderfull, and the bonus of the history teaching. thank you!
You are a great teacher, the videos are superb! thanks a million for sharing
I can highly recommend Alex's Patreon. It is just great to learn.
Thank you!
i can't believe i'm watching this for free
I have used ultra-pure liquid paraffin indoor lamp oil for my oil paintings for 20 years. Nothing's better. No smell and no headaches.
Do you know what the archival quality is like?
Brilliant as always,thanks
It is impossible for the lower middle class in some Asian countries to buy such a good lesson with the equivalent of foreign money. So many many thanks Master for helping with these free lessons.
Thank you so much.I really enjoyed watching you!👍👏👋
Very good approach It will bring a bit of discipline to my portrait work. Thank you
Thanks John! Glad it was helpful.
It was very usefuly to get a ´real time´perspective on the painting/portrait and see where you take your time in order not to make mistakes that need corrected later (saving time overall). It is very well done, methodical and motivational Alex. I think I am being drawn towards the Patreon thing!
Thank you. My mass drawing goes into this optical approach in much more depth. Explaining exactly how you simplify your subject into flat shapes and then draw with them.
anybody else watch these videos at x2 speed to save time haha Great video man you're helping me out so much! gonna be a pro in no time haha
Thank you Bobby! Glad you find my videos helpful.
Thank you very much for sharing your expertise, I am totally inspired
this is great, thank you so much for sharing!!
Really fascinating to watch and really interesting insights that I hadn't considered before!
Thanks dude!
Hey Alex, I hope that you are doing great!
I made a painting kind of following your steps and I have stoped right in the end of the beggining too!
I´m looking forward for the next vídeo.
I had some issues, as I´m a begginer... I made a printing which turn into a little greenish - And the redish black (for the dark block in) did not fit at all for me - But I realized it too late.
So the first two dark colors I´ve mixed as you - But after, for the mid skin tone, I aimed to my reference... So as you might guess...
And in the end I saw the problem... (that the darkest darks are too red in comparison with my light family)
Anyway, painting it was fast and I have a great time doing it. Finally I found join in painting, so thank you so much!
Hugs from Brazil!
Well done! Yes, the colours all relate to one another. This is what its good to try and get the colours for the large areas right, during the block in.
@@SIMPLIFYDrawingandPainting Nice Alex, thank you! I made a Head cleaning on my printer and print It again with a Very Nice colour. And also this time I edited the reference luminosity quite heavy. If you look into Photoshop histogram you Will see that the luminosity its too way low Key.
Anyway, I was abble to remove the Paint and i'll try to tweak the hue/values whenever I can, otherwise I'll start it again! ✌🏿
Thank you Alex and Hugs!!
I love this British accent!
I wish I knew enough about the technical aspects of video to help with your production, but in the meanwhile, this is going very well.
Top notch! A really watchable, informative video. Luvved the art history mixed in with the subject. 👍🙏
thank you so much for your amazing and didactic class, I love your work
Thank you
That’s a nice wiping!
Pls make a video that showing your all artworks .i cant wait to see your masterpieces!
I made a video on how long it took me to learn to paint where I show some of my earlier paintings:
ruclips.net/video/nHI_LmFBVTg/видео.html
You also might want to check out my website:
alextzavaras.com
or instagram where you can see some of my more recent work:
instagram.com/alex_tzavaras/
BRILLIANT!!! Thank you.
Thank you for the valuable tutorship 🙏🏼
Thank you Dai! Glad it was helpful.
This is a fantastic tutorial! Thank you so much.
Thank you very much Andrey!
Maravilloso. Muchas gracias, Maestro.
Thank you so much! This is awesome!
Hi, gr8 work . I hav been searching for videos like this one for so long. I would really love to see you do a live stream working from a photograph as it is hard for me to simplify the colours from the photos and not get too caught up with the artificial camera like detailing. Thank you love from India. ❤️
I am eventually thinking of doing a video on how to use photographic reference. But first, I've got to finish this one. And then I've got to get back to the series of videos I had originally planned on doing before lockdown started, on Art materials.
Nice tutorial. The only thing I miss sometimes in this master copies is not trying in fact some old techniques, as you say, the use of calcite and putty in colors (not only in white, barroque artists used in differente colors) to create different tones and colors or glazing wiht mediums. Of course this techniques were used because they lack the huge range of colors and pigments we have nowadays... but still is interesting to know them.
Thank you. Unfortunately glazing and old master techniques aren't my area of expertise.
Awesome 😎
I really like your way
Thank you and will waiting second part
Hi there Alex, how are you? Fred here, brazilian guy, student from lavender hill course. It has been a while. I showed you the Malcolm Liepke's book, back in 2008 or so, remember me? I still have a copy of Laszlo book you recommended back then. Nice to see your work developing so much. Amazing stuff! Congratulations for the channel. So much good art pieces. Thanks for sharing. Cheers!
Yes I remember. Didn't you also show me How to paint a portrait in 29 steps by John Howard Standen? Back in the day haha. How are you? How's your painting going?
@@SIMPLIFYDrawingandPainting Yes! Indeed! Howard Standen's books is awesome as well. My book collection right now is so big I have to store a huge chunk of them at my parent's house. I am doing ok, thanks. You should consider release an art book with your processes, paintings and sketches. Why not try a crowd funding endeavor?
Me, I ventured for a while in the restaurant field as business owner but decided to give art a second shot again recently. If you have some spare time, check out my artstation page; look up for Fred Studart. I have been doing mostly digital paintings. Cheers mate.
Thank you so much from over here in New York City for posting a great video - I have the luxury of seeing this painting in the flesh as it were as I live in Manhattan where this painting lives at the Metropolitan Museum of Art - I have seen this painting many times and is happens to be my favorite - As I understand it this painting was a sort of practice before he painting Pope Innocent the X which is an amazing portrait in it's own right - My other favorite at the Met is a painting by Frans Hals of Portrait of a Man, Possibly Nicolaes Pietersz Duyst van Voorhout a wealthy brewer - You could try painting that one too - it would be interesting to accent his particular style as Hals was a little different in his paint handling - I think the format of your videos by the way is fine - I prefer it if only for the fact that you can edit and add information you might have missed - I don't think I personally mind not seeing the palette either as long as you say what colors your mixing and why - I do have a question - at this point in the process would you let this layer dry first or can you paint wet in wet - thanks
I actually painting this in a single session, around 3.5 hours so it was wet on wet. But had I needed to, I could have left it and come back to it, I would have done it in the same order. Starting with the block in, with quite thin paint, ready to come back and paint onto it.
Thank you so much, maestro! Your brilliant rendering shows your perceptive eye and miraculous mastery of proportion, value and color. I remember seeing the original Velazquez at the NY Metropolitan Museum in the 60's after they had just purchased it for Five million. Outrageous! Worth 100 times more now.
Thank you very much Ben! Glad you found this helpful. I've never seen the original.
That right , Gene Hackman's ancestor lol. I thought the same thing. wow glad I'm not the only one who saw that .🙂
Fascinating, thanks.
Alex I love your work and I admire your hand and eye tenacity in following the model’s indications on blocking the planes, but I have a chromatic observation regarding the historic nature of your reproduction.
You mentioned Caravaggio as model for the Velasquez’s tenebrist technique but this is valid only for the first part of his carrier under the guidance of Pacheco. In 1627 Rubens was visiting Spain. He meets Velasquez and after, the Spanish master changes his technique, beginning with simple works like the portrait of Philip IV from 1628. In 1630 the technique is fully mastered in Maria Ana of Spain and the two landscapes at Villa Medici, in his first journey to Italy, but Juan de Pareja is dating from his second journey, in 1650.
In the book you mentioned says that the last painting Velasquez used a dark background (calcium carbonate + organic black + ochre + a layer of reddish „tierra de Esquivas”) was Joseph’s Coat dating 1630, first journey to Itally and from same year we have the first innovative work: The Forge of Vulcan where he used for background lead white (more transparent and not so dense as the calcium carbonate) applied with a palette knife. This is maybe a Venetian technique because El Greco used it also...
So the background would look like in this study of Apollo: i5.walmartimages.com/asr/3fa7df8b-560c-46a5-8e87-41a21cc49fde_1.c76e2d29f4a1bf359a5a0232b6a72fd9.jpeg?odnWidth=612&odnHeight=612&odnBg=ffffff,
very similar with this study of a Van Dyck portrait: arthive.com/res/media/img/orig/work/fa1/442315.jpg .
Same warm colored-gray appears also as background in a portrait from same journey as Pareja’s portrait: Brandani’s portrait (see the fine covered collar: www.museodelprado.es/en/the-collection/art-work/ferdinando-brandani/b6dd29d3-0e43-4bce-875f-598deaf64ced ). This means you used a kind of grisaille technique (specific to 19th century neoclassical period) ameliorated with red oxide as passage between background and light. Actually if we watch carefully the Van Dyck study, the white is actually a kind of „pink” (red iron + lead white + vermillion for cheeks and not only + chalk for texture) that applied in thin layer over the ochre-green background becomes grey neutral in shadows and distanced planes, and is used in more dense (and warmer) layers, on prominent and enlightened planes.
The difference is that Velasquez added more red in the „pink”, so the shadows are more green-orange-like colored (see the inferior eyelids of Pareja) and the Background is not warm-greenish, but black and cold-gray-green, in order to emphasize the light and the warmth tones on the portrait (not to become darker otherwise).
Your comment was really interesting and informative I look forward to learning more through your links.
Thank you. That's very interesting.
Wow, very cool
I am a bit late finding your videos which I love. Did you ever do a paint along portrait? That would be amazing
Thank you Rona! You could try painting along to this one, because you can download a high resolution image of the original painting by Velázquez from the Metropolitan Museum of Art's website. You'll find a link for the download in the description. I also made part 2 and part 3 of this master copy so you can watch my finish this portrait. I also have more portrait demonstrations filmed in real time like this one, over on my Patreon channel. I have provided reference images of my models so you can follow along.
@@SIMPLIFYDrawingandPainting Great thank you
Thank you 😁👍
I love that you had to try a few times to get the colour right. I have been beating myself up about struggling with colour. I just needed to see you do it too!
A wise artist once said "Painting is a process of correcting mistakes". You must never expect to be able to get something right as soon as you place it on the canvas. Drawing is the same, you're constantly adjusting shapes until you achieve the right result.
Very informative..thank you.
Amazing channel 👍
Thank you very much!
thanks for sharing!
Is he adding white or removing the ground to build the face? Wasn't sure how to interpret what he said or what he was doing. Awesome tutorial.
Thank youu thank man 👏🏽👏🏽
Thank you!
Veerrrry useful!!!
!!!!!!!!!?Thank you so much!!!!!!!!
Your welcome Eleftheria! Glad you liked it.
Thanks sir g
You’re the best. Wish you’d do online one on one instruction.🙂🙂🙂🙂🙂
Me too
Great tutorial. When part 2 coming up!!
I'm working on it now. It's been taking longer than expected. I've also been working on other full length demos for my Patreon channel, and they take me ages to write.
@@SIMPLIFYDrawingandPainting All right, thanks for your tutorials Alex!
Superb
Hi Alex! Thank you so much for this extraordinary demo. I'd like to give it a try. Was wondering: in this case the Oxide Red can be replaced with a Burnt Sienna?
Thanks Francesca! Yes, you can replace the transparent oxide red with burnt Sienna. They're practically the same colour though the transparent oxide red has better light fastness and tinting strength.
@@SIMPLIFYDrawingandPainting Thank you so much for such a prompt and detailed reply, Alex. I am also following - and truly benefitting from - your course on Patreon. Hope I have at least two exercises and maybe this Velasquez copy, completed by next month. If so, I'll try to arrange the 30 min Skype call with you. Would love to.
With gratitude,
Francesca.
thank you
thanks dear
Thanks so much for your teaching! Is there a specific link to the Museum for the high resolution photos of these master paintings? (I went to the site but couldn’t find where to download)
Ok sorry , found it !
subbed
24:52 Ok, so Velázquez painted a Picasso as underpainting ;)
🙏🏻🙏🏻🙏🏻
Hi Alex. Why this video isn't on SIMPLIFY Drawing & Painting site? Is this is the first part where we will find the second part? Thanks you.
The second part of this will be out on my RUclips in the next week or so. My next video on the Patreon course will be Mass Drawing Part 3. I don't intend to put any of the same videos on both channels. This is the first real time demo I've ever done on RUclips, but it still isn't as structured as my courses on Patreon.
Ok. Thank you.
Loved the video. Just one small thing, pronounce the name like ‘velaskes”, the “u” is not pronounced.
Dear Alex Tzavaras, would you share the link to your patreon channel?
I've just added it to the description
Thank you very much, Mr. Tzavaras!
💐
Great, but I advise everyone to watch it at 1.25 playback speed, you'll thank me for that. ;)))
🙏👏👏👏👏……
You must pronounce it juan de "pa-re-ha" so the "j" doesn't sound like an spanish "i". Great Video btw!!!
When can we see the part 2?
Hopefully in the next couple of days
9:15 I think this is ignoring the factor of binocular vision to perceive depth.
If you stand motionless, wearing an eyepatch, then a painting might be indistinguishable from 3D reality.
Is there a part II?
Yes John here are parts 2 and 3:
ruclips.net/video/MgYIDQyvAWU/видео.html
ruclips.net/video/qm8VF3X3BR8/видео.html
He still looks alive