Before modeling is the stage where we develop the larger form. So the egg shape of the head, the cylindrical nature of the neck and the kind of flattened cylinder of the body, basically it means darkening towards the edges of forms and lightning in the center of them. So before we move to the features of the face of the plains of the face, we're going to get those big forms first. So, I'm going to work with a big brush still. And I'm going to start by bringing a little bit of a darker tone to some bass, shadow color and black, kind of wiggling it and some airplane strokes along the end, getting that large form the largest darkening egg shape of the head, and I'm also going to lighten in the middle of forms, I'm going to get out a brush that's just a little bit smaller than what I've been using.

But still fairly large. This is a bristle brush. The bristles are good for doing textures. And I'm going to use some base light side color mixed with a bit of weight and a little bit of gray. In the essential skills section of the class. There is a light logic module and it talks about how the lightest lights are a little bit cool.

So don't mix yellow into your lightest lights. Instead mix white which has a cooling effect, and a little teeny bit of gray. So the lightest lights are just a little bit cooler than the body of lights. And again, there's a really good module that talks about all of this. So I'm just gonna wiggle stroke through the center of the nose, getting the lightning through the center of that form. Bring a little bit of a lighter area in here, I'm going to bring sort of a zigzaggy light through the hair.

It's nice to have a really strong connection between the lights of the face kind of like a lost edge and a strong connection and the lights of the hair. So you want this edge to be really lost and there be a connection between the lights of the face and the lights of the hair and have it kind of zigzags so it's, yeah, kind of zigzagging. And with the cheek, I'm going to get a color that's just a little bit darker than the one that's already there. I'm using some gray and some light sides color And as the face moves towards this side, it darkens and cools. And as it moves as the lights move towards the shadow side, it sort of warms and darkens. And I'll talk about that as I do that.

So I'm mixing a little bit of a grayish, that's too gray. It's gonna be just a little bit cooler than the tone that's already there. And I'm kind of wiggle stroking it down the edge. So I'm just wiggling my brush a little bit from side to side as I go. And I'm letting it I'm sort of lifting and pulling it over to this edge. So I'm crossing over the line and I'm going to cut back with the line after with the hair color to redefine where the edge of the faces.

You want to really make sure that you're crossing over that line so that basically what you want is it to get darker Darker, darker, all the way up to that edge. And what you want to avoid is having it get darker, darker and then have a little bit of the original color lighten right at the edge. So you It takes a little bit of a trick to manipulate the paint to really create that sense that it gets darker, darker, darker all the way to the end. So I've mixed a little bit of a warm, it's got a little bit of a lizard permanent in as I darken this color up to that edge. And I'm basically just working around all the edges. Just carefully bringing in that slightly darker color right at the edge.

And now I'm going to wipe my brush off well, and get the hair color which is basically the base shadow color. And just re carve out the shape of that line because I've crossed over it and pulled it a little to the right. So now I'm just gonna carve it back out in the place that it should be just pulling it back to the left. And the other thing about big for modeling is that the more turning like the more rounded a form is, the softer the edge. So I've pulled out this clean, dry brush, and I'm just going to very lightly wiggle along this edge, which just slightly softens the edge making it less sharp and just a little bit softer. And that actually gives even more of a sense of the big bore modeling It also allows a little bit of the hair the darker hair color to mix into the color right at the edge of the face and even pushes that big for modeling even further.

Now go through the body. Again, just wiggling the slightly darker color. Darker browner along that edge. See? No we go across this edge just a little bit as well to lighten just soften it. And with the nose, you can see that there's like this slight definition of the nostril up here.

Basically, as far as the lighting pattern on the nose goes But this is all light side. This is like mid tone light, and the true shadow is through here. So you want to just keep this like really soft and subtle and not too dark. And then the true shadow is at the back of this nostril and it's a little bit warm, it's a form shadow so it's a little bit warm. I've mixed a little lizard permanent and a little transparent red oxide into that to mix that color. With the lower lip.

You can wipe your brush off, get a clean, dry brush, just take the paint off your brush and wiggle across where the lip meets the skin. Just have a lost edge there. Also, I missed the shadow underneath the lower lip when I was doing the color land. So if there's parts that you realize you've missed, you can add the color land for those elements. This is a slightly cooler kind of gray green, dark shadow pattern underneath the lower lip and it's really the shadow underneath the lower lip that describes the lower lip and the lower lip doesn't have an edge to it. You know, instead is described by the shadow on neath the lower lip and so that gives it a lot of form.

And you can restate some of the lines on top of the drawing after getting the big forms in. I'm using a really warm color to do this. This is a lives are in permanent. And it gives a nice light color sort of pop sort of a punch to have some areas of saturated colors, and mostly more D saturated colors. Another area that I noticed that I haven't actually gotten the color leonin is the shirt. With the shirt even though it's black, it still has a light side shadow side.

So I'm using a real black for the lights, sorry, shadow side on this side. And then I'm just going to mix a little bit of gray into the color as it moves towards the light side. Still established that color Liyan painting across the form as usual, so not I might put it in initially with the form following the shape of the edge. But I'll always break that up afterwards by painting across the form and at the same time as I'll get some of the big for modeling in by having a darker color, true black as it comes right up to this edge. So we're getting that sense of the turning of the form. So that's how I would approach the big for modeling.

Bring your painting up to this stage and we'll move to blocking in the different planes.