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Amazing! Thank you.

Thanks you so much, it was very helpful for me👌 I will be grateful if you share long and detailed teaching portrait video for from a to z.

So thanks for your useful teaching videos Regina, I learned so much, keep on sharing more videos please 🙏🌷

Thank you so much. 🌸

Thank you.👏

Thank you Regina, I'm so pleased to have found you here. I was introduced to your work as a Bright Light subscriber. 🌷🎨

This makes tremendous sense to me and puts into words what I see in David's work, too , but could never bring fully into my consciousness and therefore my own work...hope that makes sense. Very appreciated.

You can lay more paint on by holding the brush parralel to the canvas and dab or stroke across the surface. If you hold the brush like a pencil, then apply the stroke, you are essentially pulling the paint into whatever color is already down, essentially mixing the new color loaded on the brush with the surface. This approach 'blends' a softer stroke, good for portraits or smoother areas. One warning about heavy paint, (impasto) and I don't know why this doesn't come up more often as it can cause problems with students not used to dealing with layered paint - When you add heavy paint, you create a new surface that, ideally, is the final result. For realistic work, this is good if you have something you are looking at or copying (as in a photo or from life). But if you want to change things, experiment or redesign, you will need to deal with the impasto. If its wet, it can be a mess to cover, especially if you are trying to correct a light area with dark paint (white is opaque so to paint over this with a dark color means it will smear into the white (or any light color). Much easier to paint light over dark. Either way, you will need to use much heavier paint and lay it on, not stroke into it. (On a flexible surface like canvas, heavy paint will absolutely crack over time, the upper layer drying much faster while the middle is still wet, and subject to any bending or flexing of the canvas.) Other options - let it dry and scrap or sand it off. That could take weeks. I tell students to only lay paint on heavy if they are sure its the final layer, and thats where what Regina is talking about comes in. If you want to see samples of heavy paint used to repaint and correct areas, take a look at Mancini, Sargent and a number of others who were excellent draftsmen capable of redrawing sections of their work with heavy, opaque strokes. If you look close at the actual paintings, you will see fine and deep cracking throughout their surfaces.

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 for the education and inspiration 🙏. Always looking forward to see your next post.

Great lesson, thank you! 🌸

i got a lot out of that video. your demonstrations along with the narration helps me see and understand. i can immediately go to the canvas and practice these techniques. I have a still life i'm working on right now and my goal is to build up the pain in a more sculptural way, emulating your style. Thank you for the videos.

Masterpiece!!!

Amazing work!

Beautiful! 🌸

Master!…. Thank you!..

A brilliant and informative video. Thanks!!!!! I'm passing this on to our students at the Angel Academy of Art, Florence.

Thank YOU !

Very helpful, thank you! 🌸

I appreciate you taking the time to make these videos and sharing your knowledge with us. Thank you and All the Best to you and your family!

That spreading the color idea is super helpful. Thanks!

love this video, thank you!!

Great video Regina. Thank you

Great info, thank you! 🌸

BEST Teacher ever! THANK YOU….

I learn so much from you, Regina! I imagine your impasto work requires a LOT of varnish because of all that surface area of those nooks and crannies! Your videos are Great, so generous❤

Great video! Love learning new things from you.

Excellent. No nonsense clear information - thanks👍

Excellent video, thank you so much for the tips, I would like to know how long I should wait to apply retouch varnish to a painting? My painting is already dry to the touch, and I last painted it 3 days ago, painting a very thin layer, where I used raw umber and it is also already dry to the touch, I would like to apply retouch varnish to remove the sink in and make everything uniform, but I don't know if it is safe, because I painted it for the last time 3 days ago.

なるほど茶色は白多め混ぜれば肌色なるんですね。試しにやってみよう

Amazing work! Thank you! 🌸

Thank you for advice and information ℹ️.😊

I love the idea of using one's interpretation of a photo rather than copying it value for value, color for color. I've only started painting recently and look to videos like yours to learn. This was very valuable knowledge for me. Thank you so much. Please continue making painting videos that inspire beginners like me. I would like to know how you get your paint to stand proud of the surface like that?

nice nice!!!!

another great video. i want to paint like. thank you

❤❤❤

Thank you for the advice. Much appreciated.

Thank you! 🌸

I’m so blessed to have found your channel. You’ve helped me fix a little problem I had. Thank you!!!

So would you use saliva on each painting just in case? Because you cannot know in advance if there will be a varnish problem, right?

I wish this video had come out sooner. I learned by ruining several paintings how not varnishing correctly, and not taking precautions can ruin your paintings. I work in Acrylic, my first diaster was Varnishing a Painting I had won a prize with. I decided it was time to protect it, I painted on some satin varnish that had been laying around for a while, it was kind of like sirop consistency. I painted it on, and the Acrylic Paint melted off! The varnish had become much too thick and literally dragged off the Acrylic paint while I was applying it.

I read that rubbing the surface with a piece of silk helps the surface accept the varnish, perhaps due to a static charge.

Thank you.

Thank you.

Hello ma'am, nice advise, ma'am if the varnish is thick can we thin with turpentine . I'm using Winsor and Newton varnish.

Thanks Regina .) Very useful tips :)

Are you using a goat hair brush?

Thank you for the tips. Beautiful portraits! Looking forward to more videos ❤

Best teacher ever 😊 THANK YOU

These portraits are beautiful. I can't stop looking at them:)) Warmest regards!