"Always work from the big shapes down to the smaller details."
"Toddler portraits are so much more difficult than normal portraits because the proportions have to be very round and soft. Otherwise, you can age the image and make it look like somebody that it's not."
"Using a still from the 1953 movie Niagara, Andy took an image of her in the prime of her youth and joy, and through countless repeated silk screenings, eventually slowly transformed the joyful smile into a bitter grimace."
"Shadows are an excellent way of grounding your objects into the scene; once you cast a shadow from something, suddenly it feels like it's there."
"If you're creating an illustration that has a figure as the main focal point, you want to find ways to give it more emphasis."
"The Ambassadors...a technique known as anamorphic perspective."
"Value contrast, smaller shapes, and contrasting edges - these are important elements to consider for focal points in your artwork."
"Let's get into a painting...every time I use a technique, I'm gonna call it out."
"You almost always do everything you need in just three layers for the base layering."
"Now the cons is you have to spend a lot of time coloring but if you like painting word in line art this is definitely a pro."
"Sketching doesn't have to be loose and indifferent, it could be a very careful nature study." - James Gurney
"This white oak painting technique is unreal."
"If you want to do some real heavy inking with Prisma colors and everything and you want to do it on both sides, you can totally do that with this thing."
"In a panel that has both a foreground and a background, maintain visual clarity between the two."
"Drawing is creating the illusion of reality, based on simplifying things we see."
"Gesture drawings of compositions can help you understand how your eye moves through them." - Marshall
"Negative space being, you know, we don't want the whole scene to be bright, this is just going to be splashes of light here, here and here."
"At this time, I'm going to, let's make a little darker color over here."
"Layering lighter, the key to building depth."
"Just hit the lines you really like, hit the lines that you want to make seem a little bit more pronounced."
"Expressions are very important because they breathe life into your cartoons."
"Creating speed lines... to show motion and action."
"You don't want to keep using the same water and keep everything clogging up your paper."
"If you're wanting to create something that is more painterly and looks like the random effects of a brush, then using the randomized shape properties would be really quite useful."
"For speed painting, it's so fast to go through it and you can just actually build up much more intense opacity to the right color."
"It's really important to note that the only way that rendering is really effective or cross hatching is really effective on a figure is if your underlying structure and your lighting is well established."
"Adding distant mountains for depth and scale. It's straightforward and adds a lot to the scene."
"You'd be surprised what beautiful blended colors you can create with this."
"Less is more. Sometimes you can overwork a drawing with detail."
"Using a limited palette is fantastic for figuring out how colors work."
"Once I learned this technique, I now avoid doing highly detailed stuff in zbrush."
"It's a great method for seeing your proportions more accurately particularly with figure studies."
"You can see just what a difference it makes, helping all those details really pop out."
"Just wash and dry your brush and you can release those colors at your own desired amount."
"The more branches you have, the fuller this tree is going to look."
"A simple way to add dimension to the painting."
"Less is more here so I tried to get most of the paint off the sponge before dabbing."
"Everything that you imagine sandpaper doing with colored pencils, the opposite actually happens."
"It's always best, no matter what kind of drawing you're doing, to draw from visual reference."
"If you're making a brushstroke and nothing's happening, get a little more paint."
"And the last thing we have to do is add some highlights on the different elements."
"Every bit of your work is just as important as every other area. Don't rush something just because it doesn't seem important or it'll drag down your painting as a whole."
"That's one of the things that makes a figure drawing of a living model not feel like a cast drawing of a marble statue, for example."
"The principle of isolation in art... less is more, it's about understatement and evocation."
"You're really when you're shading a face your shading kind of the ball because the face is a round shape."
"I want this video to be very specific on how I get colors to blend into one another."
"Patting does build up a lot more than kind of rubbing it."
"Blind contour drawing: a great way to improve your observational skills."
"The biggest benefit of blind contour drawing is that it unlocks observation skills."
"Experiment with glazing for depth and realism."
"All I'm doing is finding little interesting shapes I can create along this seam, and what that's going to do is give me the guide for where the light should go."
"Don't get overwhelmed with watercolor, it's actually really quite easy."
"The way I do handle eyelashes is to have a rhythm like this almost like a u-shape."
"So see I'm going to look at the color picker I'm going to pick this color and it's right here right I'm going to pick this color for the lower lid and see it's darker see darker not and yet it looks pretty light so that's all about relationships."
"Skulls are good to do because if you do make a mistake, generally you can hide it."
"A good focal point is going to help you with really nice sketches."
"Being aware of this is a big step towards understanding how things set in 3D space."
"Think about the lines that you're drawing before you draw them."
"So, if you want to show a convincing light source, you just put white, complete white in the surface of the light source, like painting the sun, that will make it look bright."
"Gesture drawing is the most important stage, where you lay down the idea in the most dynamic way you can."
"Pre-wet the whole of the face...if you want your painting and your skin to look really smooth."
"Mixing phthalo blue or phthalo green with either blue or yellow gives vivid tones, especially with titanium white."
"Try and find a key in your painting early on, a darkest dark or a lightest light, to base your colors and values for the rest of the painting."
"When it comes to brushwork, try having the economy of brush strokes and you're working from big shapes to small shapes."
"Here's a little more that red and orange again I'm going to place a little that in here just sort of place it in yeah now she's cooking."
"Experiment with references. Don't be afraid to use reference. Sometimes people look at using references as a bad thing but it's actually good for learning."
"Blending takes a lot of back-and-forth, patience, and practice."
"It's a lovely buttery paint, and you've seen how the paints gone on today. It just flows on the canvas."
"I'm not gonna be doing it with the airbrush; I'm gonna be doing it very, very subtly with basically thin filters of oil paint."
"Stippling is a technique applied in printmaking, drawing, painting, and it's the idea of creating an image out of dots."
"That's probably the biggest single mistake made is putting too much of it on the canvas."
"It's a super way though to make some of the most beautiful little mountain effects you've ever seen."
"I like to when I'm using a nice solid color like this as a background, I will most likely use multiple brush strokes just to kind of get it on there."
"Every time we add more mars black and titanium white, we progressively make the ratio of green less and less."
"I'm going to hold it way back here when I shade so I'm not going to hold it all the way up here, it's going to be back here, and then I'm going to pick one direction and I'm not going to stop until I cover that entire surface going that direction."
"For my trees, I'm using reference images downloaded from Google, converted to black and white, to build my tree off of."
"...you always want to work from the lightest part, start in at the lightest part and work out towards the darkest part."
"You could just do a whole page of color bleeds just gently touching i like when you have like just water on your brush and you let that color bleed."
"Just gradually building up your layers, just get the painting on and get that paper or whatever surface you're using covered up."
"Layering: building vibrant colors with depth and dimension."
"It definitely does influence the overall work. If I had done this painting without any underpainting, it would have been too cool in my opinion."
"By rolling the ball stainless randomly along the surface of the clay in one direction, I was able to add a pretty convincing looking bark texture."
"When you put that darker color underneath your lighter color, it pops that lighter color forward."
"I like to use hot pressed or smooth paper when I use pencils, so I used some hot pressed watercolor paper."
"The layering process is about adding colors, taking colors away, adding more colors, and taking more colors away."
"Layer upon layers is what really will give us the effect."
"Adding like water drops in between say the purple paint you can see it adds lighter values and little like a starry sort of patterns."
"The bigger your paintbrush is the bigger sort of splatter drops you're going to get."
"You can see that adding the green on top of the red really just gives a dull dark brown disgusting dull color."
"Adding shadows and highlights gives scrolls depth."
"So I feel like I was able to get a decent change of color or fade from light to dark. This would have been very difficult to do with just a brush and acrylic paint so I think this is a really fun experiment."
"In my world, it would take way too long to achieve this effect with a brush but with an airbrush it's super fast."
"Get the hard lines, get rid of the black, and then, you know, you can get as fancy as you want."
"I found that when the paper is white most of what comic book inking is no longer works."
"Everything that you do is a result of layering color upon color."
"The key to a really great pastel painting is a light hand, a very light touch."
"I could not break up that pattern of the color no matter how hard I tried, so I had to distract from the pattern and the white gel pen is what did it."
"Layering really makes a huge difference. Layering from dark to light or interference colors or transparent colors here like this one needs a little something like that."
"...we don't have any of that swirling or curling there in the middle of our work."
"The harder you press, the more texture you're gonna get."
"The goal of shading is to create the illusion of light, making our images slightly three-dimensional."
"Wherever you decide to make the illusion that the sun is coming from, that's the side that you want of the bridge that you want to be lighter."
"I don't actually color in the piece first. My preference for doing this is to take my pencil and my brush and just rub the tip of the brush over the tip of the pencil."
"This here is great for if you have a canvas that is loose and floppy. You just spray the backside of it and all four corners at the back, and it'll work for you."
"If you add too many layers, it can get dirty very quickly."
"Remember to leave two little white spots in the pupil for glare."
"Using the wet on wet technique in this loose style is a lot of washing off your brush and using a clean brush."
"The polymer non-removable varnishes stick to your acrylic paint and pretty much bond with it. They create a harder top surface over your paint, so the paint itself can't really be penetrated and it can't trap particles of dust in it."
"As long as you take that darker red violet and keep it super dark right here into the center, that is what really makes your pretty rose."
"You paint roses with shadows more than you paint it with light."
"Do you remember what art that's called? Pointalism."
"One last thing we can do is to make sure that the shadows on top of this pancake mix matches the shadows on the pan so I'm just gonna paint on top of the mix and try to match those shadows."
"You only have to do this one time, okay? Because once you mix one color of paint up that I have, you will be able to feel what the right consistency is."
"If you're new at this, I highly suggest just pouring some in the center, tilting it around, and getting it to go over the edges."
"If you wanted dull red, the opposite side of the color wheel to red is green."
"This gives us the illusion of depth, that there are things far away in the distance."
"And then dry brushing some light brown on top of the suit coat and shoes to finish those off."
"Linear perspective is a mathematical or geometric method of creating the illusion of three-dimensional space on a flat surface."
"...scratching away the screen tones I think really helped the image look complete."
"Working with paint in such a way that the paint moves with the fluidity."
"The whole thing about atmospheric perspective where you can use color and contrast to give the feeling of depth in a painting in a landscape."
"Remember, you want to start with your darkest colors first."
"This is how you do it, you do little swirls."
"A lot of it's about water control and how much water and pigment you have on your brush."
"This here is really what we're doing whenever you create a glowing effect. You're really going from light to dark, and the light is the path that's glowing, and you're going out to whatever the background scene is."
"Blending with light pressure and laying down a lot of pencil slowly, coloring pencil art is all about slow and steady coloring."
"Typically warm colors will come forward and cool colors will move back in your coloring scene. That's a good rule of thumb."
"Watch here, you just take the knife and scrape in all kinds of little things and people'll think you spent just days and days workin' but you got one haired brush and put them in. Don't tell them any different, shh!"
"It's very important to get these initial shapes in how you want them because that's going to set the stage for the rest of the picture."
"This really shows what Jura can do in black and white to create these extraordinarily subtle effects of light and shade."
"The second technique is to create a stencil with your background dyes."
"The third technique is to create a dry embossed background."
"Wet on wet is probably my favorite technique; it can be very simple but so effective."
"I established a perspective... it's working traditionally: horizon line, vanishing points, and vanishing lines to determine where things are."
"The beauty of this is most of the flakes lay flat."
"I really like how you showed form on this clothing study with your brush strokes."
"I love how you're creating distance in your paintings with atmospheric perspective."
"Welcome to the world of light painting."
"I've really enjoyed diving deeper into the Reilly method and I can't wait to keep studying and putting it into practice."
"Using the pencil and making a line through both eyes right through the pupils is a good way to find the head tilt."
"This is called the cross of the face, and it's a great way to find the tilt of the head."
"It's amazing to me how that little trick can sell foreshortening so well."
"If you get your silhouettes right, so much of the figure will fall into place."
"You do this by dipping your paint brush in water, then dipping it in the pigment powder, and brushing it across the unsealed paint of the dresser."
"Shading itself is not hard; what is very hard is to understand what you should be shading."
"This really cool like charcoal painting technique... gives us this really warm, charming traditional effect but with all the convenience of digital media."
"This hybrid style of block in represents my own approach to portrait drawing over almost 20 years of experience."
"Once you start adding that light and shadow, you're going to start to see the form really start to pop."
"You want to have your brush saturated but not overly saturated."
"I'm going to start using these colors to bring all the light down onto the wet area of the sand."
"It's light against dark and dark against light; that's gonna really help this bird stand out."
"This little mushroom is mostly an excuse that I can teach you a technique that I like to use to add texture and special effects in illustrations."
"So you can see already it's super simple, but it completely makes the character pop from the background."
"Backgrounds can have multiple layers, usually to give the impression of depth."
"The right place to use your granulating pigments is for texture and texture techniques."
"It's pretty incredible how dynamic and interesting you can still make your piece look just by creating that outline using a line weight variation in a mindful way."
"Whenever I'm doing some water coloring, I always like to start off with just a layer of water with my paintbrush."
"We've really just used three values... but there's still a sense of weight there and a sense of volume."
"I started by drawing the line of the crest of the wave with a white colored pencil."
"Now, to showcase depth, we're also going to change the color between the different mountain ranges."
"If we add this atmosphere between all the mountains, it's going to create the illusion of depth."
"The magic sauce of landscape painting is in chaos of sloppy messy brush strokes matching a very nice clean tidy intentional look."
"I'm really excited to show you how to do these eyes."
"A little bit of edge highlighting can help bring out the detail."
"You'll learn a fun blending technique that's going to create a wet on wet watercolor effect."
"Granulation is a great thing when you're painting tree trunks because you want that texture."
"Glazing is such a powerful technique because it allows us to create smoother blends, tonal variation, and interest across our miniatures."
"We're looking to create a bit of contrast here between the light and shadow."
"Aerial perspective is the name we've given to the phenomenon of creating atmosphere and creating depth in a painting."
"We're going to be painting direct sunlight and talking about how to create those effects of aerial perspective, of depth, of blazing warm sunlight that pervades everything in your painting."
"It reacts with water and does beautiful results."
"Paste paper is the process of taking some kind of paste or starch and adding acrylic paint to it and mixing it up, painting it on something, and then texturizing it somehow with different kinds of tools."
"We will give you all the dry brushing knowledge you need to smash it out the park and improve your paint."
"Mark making can allow you to just spend some time with your mind, hand, and instrument, so you build that connection between the mind and the hand."
"It's that quickness of Brush Mark, that Vitality, that looseness that he's able to produce which I imagine was quite radical at the time of painting."
"It's one of my favorite techniques to do."
"Look at that beautiful frayed edge we were able to get just with water."
"What French term that means 'deceives the eye' is applied to paintings designed to fool the observer into believing that they're looking at a three-dimensional object? Trompe-l'œil."
"With negative painting, rather than filling in the object, we create it by painting the space around it."
"One of the fun things about watercolor is the way that you can manipulate it, the way it moves."
"The granulation is beautifully random; the flat wash is smooth, and the gradients soften off as expected."
"Creating these backgrounds on these fall cards just using different colors of distress creating a beautiful watercolor background."
"European oil painting placed a unique emphasis on the tangibility, the texture, the weight of what was depicted."
"The cool thing about this technique is this is a great background when you want a little bit of interest but nothing that's distracting from whatever you put on top."
"I see values as a way of determining the harshness of the light, and therefore the overall mood of the illustration."
"It really helps sell the sense of lighting in your portrait drawing."
"We start getting this really cool texture to create cracks and distressed areas in a photo."
"Chiaroscuro, everything is more sober, everything's more darker, the contrast is stronger."
"Embossing glazes are actually translucent, so you can see through them."
"The first step I recommend is to do a base, the color base."
"We will focus on understanding the key elements of the scene we'll be painting and figuring out how to translate them to paper in an efficient, simple, and appealing way."
"Believe it or not, this background is done with layering stencils and it gives a really cool look."
"You can adjust the expression on their faces with the way the pupils in the eyes are, and it's amazing actually how a small change will make a huge difference."
"Keep in mind you could really build a beautiful colored background with that diagonal plate without even rotating it."
"Torn paper strips make it look as if the landscape is going off into the distance."
"You want to glide over the surface, you want to add shading gradually."
"This technique gives you so much freedom, and here's why: it's incredibly forgiving."
"If you want to create beautiful watercolor paintings, first you need to understand the media that you are working with."
"This is called over layering; it's really impressive and the best of all, it's super super easy."
"Once you understand the distribution of water and how much is enough, it was much easier for me to control how much water I need for these looser paintings."