These types of blocking in strategies are so valuable to getting an accurate likeness too! Big shapes to smaller shapes and details in the right positions. Easy to underestimate this about all of this.
Using a large brush to start is incredibly helpful❗️Focusing on large shapes first is such a great way to chisel out a likeness. It makes finding the features so much easier. Wiping out highlights with a rag is also a helpful method. It really forces one to stick to large shapes. Lots of sage wisdom in this video. Can’t wait to see more.
I watched the entire interview and I find it very valuable, inspiring and educational! So many times we miss to pay attention to shapes and transitions, then we realize we have to do it again. Thanks so much for the tutorial! Blessings and take care.
She's amazing , I really like when people use a limited pallet to do portraits like this . I'm still trying to perfect my painterly technique , so I agree with her it's about efficiency in laying down a stroke and leaving it . Noodling and over painting is a demon I've been fighting for a while as an artist my self.
This is amazing, as a poor student, these tutorials are indispensable, thank you so much. As a beginner, i find it easier to do as this lady suggests, and start with large shapes and move downward, instead of starting with an underpainting, she reminds me of carolus duran and some of sargents earlier works.
Yes Indeed Harry, I believe what Carolus-Duran taught would have been along these line. Starting by establishing the larger masses that make up the subject.
Love this super teaching ,so beautifully done,and I have been painting all my life , t d not get to Art College , so have learned so much watching this video today thank you,I have been getting so much help from these super videos such talented artists this lady has filled in a lot of knowledge for me
I think Susan is successful in her portrait technique because she has a good eye for placement, for drawing. To think she begins with the darks, no alignment marks, and no planes. I wasn’t feeling the structure in the light side until the very end. She did well in this demo. A testament to her technique.
Fascinating watching this "blocking in" process..()I've also heard it called "painting into the fog" with the painting method of somebody like Scott Waddell who finishes one area at a time.
love the process and you explain things so well, thank you for this video it really helps me understand a better approach I think to painting, thank you.
If I'm not mistaken, for this demo it looks to me like she used a limited palette of yellow ochre, ultramarine, alizarine crimson and titanium white, or something similar? If you watch the longer interview she talks about the colours she often uses: ua-cam.com/video/-JvfBZzTWvM/v-deo.html
Great video Alex. Ive been an admirer of Susans work for a long time. Do you know what the limited palette she is using here as it isnt mentioned? Cheers.
She didn't say, I should have asked. But I reckon it looks like she was using a limited palette of Yellow Ochre (Though it could have been a different yellow like cadmium?) Alizarin Crimson, Ultramarine and white.
Fresh eyes are very important...I also have to stop and take my breaks. I love to keep a combination of loose yet also focused and concentrated in some level. Lazy thinking or tired thinking cannot work.
I call it seeing well. You have to see well to put down something definitive. And that means understanding what you’re looking at. So you have to look acutely at something then put that down. I think most people want to massage it into place. Rough it in. To me this produces lazy seeing. If you accurately see and put that down, there will be very little noodling need. IMO
These types of blocking in strategies are so valuable to getting an accurate likeness too! Big shapes to smaller shapes and details in the right positions. Easy to underestimate this about all of this.
Using a large brush to start is incredibly helpful❗️Focusing on large shapes first is such a great way to chisel out a likeness. It makes finding the features so much easier. Wiping out highlights with a rag is also a helpful method. It really forces one to stick to large shapes. Lots of sage wisdom in this video. Can’t wait to see more.
Oh, that was so good. Great reiteration of advice to start the day with!
Thank you Elsa!
I watched the entire interview and I find it very valuable, inspiring and educational! So many times we miss to pay attention to shapes and transitions, then we realize we have to do it again. Thanks so much for the tutorial! Blessings and take care.
She's amazing , I really like when people use a limited pallet to do portraits like this . I'm still trying to perfect my painterly technique , so I agree with her it's about efficiency in laying down a stroke and leaving it . Noodling and over painting is a demon I've been fighting for a while as an artist my self.
Beautiful demo. Thank you so much ❤ such a help!
This is amazing, as a poor student, these tutorials are indispensable, thank you so much. As a beginner, i find it easier to do as this lady suggests, and start with large shapes and move downward, instead of starting with an underpainting, she reminds me of carolus duran and some of sargents earlier works.
Yes Indeed Harry, I believe what Carolus-Duran taught would have been along these line. Starting by establishing the larger masses that make up the subject.
Great demo by a great painter!
Painting portraits was always difficult for me how she makes this seem effortless is amazing.
Excellent. Thanks Alex!
Thanks to Susan , anyway I want to tell you that your art technic is first category . Keep doing this good wark Alex Tezavares 🌟🌟🌟🌟🌟🤝
Nice video, beautifull painting, ty
Thank you Jean Luc!
Thanks Alex and Susan, this demo is a great source of knowledge and inspiration! Hugs from Brazil!!
Thanks Davi! Glad it was helpful.
Please do a video on varnishing a painting, as a follow-on to your video on mediums. Thank you.
Here is a video I made about oil painting mediums, where I also talk about varnish:
ua-cam.com/video/22zHMjpdK2Y/v-deo.html
Love this super teaching ,so beautifully done,and I have been painting all my life , t d not get to Art College , so have learned so much watching this video today thank you,I have been getting so much help from these super videos such talented artists this lady has filled in a lot of knowledge for me
My pleasure, glad you like this!
I think Susan is successful in her portrait technique because she has a good eye for placement, for drawing. To think she begins with the darks, no alignment marks, and no planes. I wasn’t feeling the structure in the light side until the very end. She did well in this demo. A testament to her technique.
Fascinating watching this "blocking in" process..()I've also heard it called "painting into the fog" with the painting method of somebody like Scott Waddell who finishes one area at a time.
Excellent content as always. Thank you!
Thank you Mel!
It is such a fantastic video. Thank you so much!
Thank you for watching! Glad you liked it.
Excellent
love the process and you explain things so well, thank you for this video it really helps me understand a better approach I think to painting, thank you.
Thank you Lewis! Glad you found this useful.
Great sharing✌️keep it up nice✌️✌️
Thank you!
Brilliant…thanks
Thanks Norman!
It's very refreshing to hear a pro admitting to struggling with basic stuff like stroke economy just like the rest of us mortals.
Painting never gets any easier.
This is Quality content.
Thank you Mikey!
She is so good. Thanks for sharing. I would love to know which colors she is using here...
If I'm not mistaken, for this demo it looks to me like she used a limited palette of yellow ochre, ultramarine, alizarine crimson and titanium white, or something similar? If you watch the longer interview she talks about the colours she often uses:
ua-cam.com/video/-JvfBZzTWvM/v-deo.html
Fantastic video!! Do you happen to recall what Susan's palette consisted of?
I think she used Titanium White, Yellow Ochre, Alizarin Crimson and Ultramarine.
Subscrit ,vull veure alguna coseta més, m'ha maravellat.
Great video Alex. Ive been an admirer of Susans work for a long time. Do you know what the limited palette she is using here as it isnt mentioned? Cheers.
She didn't say, I should have asked. But I reckon it looks like she was using a limited palette of Yellow Ochre (Though it could have been a different yellow like cadmium?) Alizarin Crimson, Ultramarine and white.
Fresh eyes are very important...I also have to stop and take my breaks. I love to keep a combination of loose yet also focused and concentrated in some level. Lazy thinking or tired thinking cannot work.
i like her she s really good i can understand why you like her
Indeed.
👩🎨🎨⭐💐
I call it seeing well. You have to see well to put down something definitive. And that means understanding what you’re looking at. So you have to look acutely at something then put that down. I think most people want to massage it into place. Rough it in. To me this produces lazy seeing. If you accurately see and put that down, there will be very little noodling need. IMO
The nose is kinda off
less is more
I think her nose is too short.