Portrait of Xenia
First 12 Parts
Preparation of the canvas using an experimental palette system including Some small hints for oiling the canvas and what kinds of pictures will be useful.
What you will need to begin a portrait, some do’s and don’ts, warm and cold hues, and most importantly things to know about painting the eyes.
The Appearance and disappearance of contours, little nuances in the dark shadows, brushes, and micro blending.
The law of transition between warm and cold, comparing the shadows of the forehead and eyebrow and why the forehead and the nostrils are a different color.
The nose and nostrils, blending, transition colors, the second eye, and more anatomy.
The shaded side of the eye, why Rembrandt is the “Master of Light”, and the nuances in the small areas.
Two mixtures, the top of the lip and the lower part of the cheek, and why lips should not be red.
More about the lips, what color should be on the lips and why, the left cheek and chin, and if you are not tired – blending again.
The blending, the stored mixtures, and why we use cold for the neck.
Neck, “tan”, shoulder, highlights
Blending brush, drawing and design, work on hair, and the deep shade of the hair.
Single-layer painting, perpendicular strokes, background, and secrets for painting hair.