You are an excellent teacher, by the way and you can indeed draw and paint. A picture is worth a thousand words and if a teacher does not demonstrate, I find that useless.
These videos have been so helpful with the portraits im currently painting. I really appreciate it. I hope you keep going and make some videos on full colour approach to portraiture.
Fantastic! Years ago, I learned the Riley System but no one ever taught beyond Part 1 of your modeling the cast (what you call the "fill" stage), they would call poster and blend. Color in the shadows were always greyish brownish, not attractive but color in the lights were good. No Riley teacher ever demonstrated and I wondered if they, indeed, could draw or paint or were just quoting Riley's notes. Part 2 of modeling the cast demonstrates how you finish or model the form. Would like to see specifically portraits done outdoors. I did find useful finding the local value of flesh at 6 or 7 and shadows 3 or 4 for form lighting. Do not mix the Riley palette but with just the broad value of the flesh in the light and shadow can modify from there. Interested is some of the theories if not the palette itself.
You are an excellent teacher, by the way and you can indeed draw and paint. A picture is worth a thousand words and if a teacher does not demonstrate, I find that useless.
These videos have been so helpful with the portraits im currently painting. I really appreciate it. I hope you keep going and make some videos on full colour approach to portraiture.
Soon and very soon!
and thank you
Fantastic! Years ago, I learned the Riley System but no one ever taught beyond Part 1 of your modeling the cast (what you call the "fill" stage), they would call poster and blend. Color in the shadows were always greyish brownish, not attractive but color in the lights were good. No Riley teacher ever demonstrated and I wondered if they, indeed, could draw or paint or were just quoting Riley's notes. Part 2 of modeling the cast demonstrates how you finish or model the form. Would like to see specifically portraits done outdoors. I did find useful finding the local value of flesh at 6 or 7 and shadows 3 or 4 for form lighting. Do not mix the Riley palette but with just the broad value of the flesh in the light and shadow can modify from there. Interested is some of the theories if not the palette itself.
Superb teaching , thank you.