Composing a Narrative Self-portrait Painting (2/2) | Demonstration by Melisa Calabria

Melisa Calabria continues working on her composition using her colleague Kristine Onsrud and herself for the same figure, and she gives insightful advice on use of color.
In this video you will learn about:
• Why you establish proportions, placement and value before color
• How to work from memory after the model has left
• Painting hair in "patches"
• Making the facial expression correct according to the action
• Why you should use color from the figure in the background
• The purpose of neutralizing the background
• Nerdrum's advice on color
▶️ Full video (57 minutes): / caveofapelles
🎵 Full audio: caveofapelles.com/podcast
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[@agustinacaruso]

Excelente 🤩

[@marthaprivitelli7419]

Excelenteeee!!!👏👏

[@anahipalmer5139]

🏆

[@rubenhayk5514]

model put effort into making that face and they paint her neck

[@rutbrea8796]

So, Melissa is using the model as a composition but it's actually herself? But the painting doesn't look like Melissa. Kind of confusing. I understand she's trying to teach about colors, but the person she supposedly painting should like it.

[@byronbuchanan3066]

Ive been a photorealist for 17 years and am able to make a portrait look exactly like the sitter however Ive learned that unless its a commissioned portrait its absolutely irrelevant to making a great painting. Most artists get stuck on likeness... its a trap. She is only using the model to observe lighting... not likeness.

[@tahircnolii]

Seems good job. But the portrait looks like different person.

[@biosjumper]

because it is .

[@aldack]

Meh