We're gonna start to describe the planes. And so we're gonna be looking for the different color and different tone. For each plane. There's like a lighter top facing plane, the front plane will be a different color and the side plane will be another color and another tone. So really looking at the different planes that sit on the big form, and I'm using medium to size for arches as we move forward. So we've got this medium sized, bright brush.

I've got my three quarter inch graner and we've got this fairly large filbert brush. Let's get started. Okay, so let's start with the forehead and the forehead. We've basically got a small top plane here and then we've got the front plane of the forehead, and I want to refine my painting a bit to have more clarity between the great Between the top plane and the front plane, I think the top plane of the forehead is a little bit darker than the lighter notes of the front plane. And so I'm just bringing this slightly different, slightly darker tone and I'm going to airplane stroke across that to give kind of a hair like really soft edge. And then we shift to the front plane and I'm going to go a little lighter and a little cooler.

Remember the lightest lights are slightly on the cool side and using some titanium white, some base flesh color and a teeny tiny bit of gray and maybe a bit more white. Just getting some of the lighter, the lighter front planes that occur in the forehead. And then there's a plane change to where this side, you know, side plane of the forehead starts to round in. And so we've got this lighter front plane got a slightly darker side plane, and we've got kind of a middle, other side plane. So I would say the plane on the left is the darkest, and the forehead to the right is sort of in the middle. So just really kind of studying that and looking for the different planes will help you bring just an accuracy to the description of the different planes With the cheeks I'm gonna mix a little bit more cat red, cat red light into my bass flesh tone does moving into a slightly pink here local color and got the top plane of the cheeks on mix a little white and a little gray into that color again, because the lights are slightly cool.

So getting that layer top plane and then move into slightly less light. As we get to the back into the side, it's also getting a little cooler as it moves like over to the left. So the color that I had initially was just slightly, slightly too saturated. So I'm mixing a little more gray and just to D saturate that which gives it that sense of going back into space and then transitioning into the front plane of the cheek. We've got kind of a pinky color that makes us in. I'm using the wiggle stroke to sort of let it blend together at that transition, and then it just wraps into about what color I've already got.

So I'll just soften the edge there. And actually maybe I'll go a little darker for the lower front plane of the cheek. So I wanted to just round gradually into that slightly darker No. still needs to be a bit darker. So with color, the thing to do is put down your best shot at the color. Realize that it won't necessarily it often won't be great right from the start.

And then you look at it and judge it based on Is it the right color? Is it the right tones of great lightness and darkness. And is it the right saturation? So right now would have got it almost it feels a little too dark. So I'm going to lighten it slightly. So it's Yes, comforting to realize that you won't mix the exact right color right from the start.

And if you you know, if you don't, it doesn't mean that you're bad at color or anything like that. It's just part of the natural process. Right now actually, this is feeling a little too purpley. So I'm going to bring something with a bit more yellow ochre into that and then there's a side plane of the nose. I'm already sensing the side plane of the nose, it's a little darker, a little cooler through here. I think the only place where I could refine that a little bit more is just this connection where the nose inserts kind of the front of the eye here.

There's a Little bit of a suggestion of the bone in the nose, the bone structure of the skull that describes the eye socket that's coming there. And then continuing down the face, we've got the lighter top plane to the mouth muscles that already looks to be pretty well described. The chin could use a little bit more description. I think that there's a broader, suddenly broader band of shadow that comes up onto the chin, the genom it can be tricky because it's so subtle, I'm going to just move to a smaller brush, actually. And yeah, so rounded that the transitions are so subtle that it's hard to perceive. I think it's one of the hardest features.

And so that's obviously too cool. So I'm mixing a little Bit of warm sort of reds and yellows into this and want to be a little bit cooler because it's that transition the important place where the light meets the shadow, but I don't want it to be screamingly cool. I think on the Glenys in this will work well. Sometimes it looks a little strong in the beginning. And so I'm using a subtle little little stroke as I go, which is giving it a soft edge. I'm really focusing on this upper edge first.

And then I'm gonna refine the lower bottom edge of that stroke start to sit into place. And then the lights like the light side here is just a little darker than what I had the subtle like connection between a mid tone light that wraps here and connects to the shadow underneath the chin here. And there's also a little bit of a sense of a darkening and warming as the light side rounds over to the shadow side. So that sort of preparing the lights as they round into the shadows again with a very subtle wiggle stroke and then lightly wiggling across the whole thing to create, just have it be really soft, subtle, subtle adjustments. There is a slightly lighter top plane to the chin. And there's a little bit of a darker front plane.

So thinking about the direction of the planes face, finding goes. And then at the bottom of the cheeks, the mouth muscles kind of comes out and we get a transition from the undercut plane of the cheeks into this lighter plane of the mouth muscles coming out. And so you'll often get a little definition here. Later plane. And when you do one thing to one side, you want to check how it's occurring on the other side and there is a little bit of a lighter definition here that describes that most muscle coming out I think I can even go one notch lighter with the top plane of the ship. And I think the front plane of the nose could be a little more differentiated from the side plane, it's sort of warmer and it sort of just slightly later, noses and ears and fingertips and things that stick out are often a little bit warm, so there's a slight kinkiness to the nose.

And then moving into the neck, the neck comes up and out of the collarbone at a slight angle coming out. And so there's basically a front plane and then the chest plane so the plane change there. And I already sort of have it I think we can just go a little bit into the mouth, into the neck muscles here. So the chest pains a little lighter. And I'm using the base flesh color mix with a bit of white And just a little bit of gray. And I'll just bring in that slightly lighter plane for the chest.

So think about the direction that a plane faces can really help you in the decision making process. carving out a slightly sharper edge for the clothing and it gets a little darker as it moves back here gets a little pinker as it moves into the center of the chest, which I've already got. I'm just gonna make sort of a gradual transitions that and there's also a certain lightness over here. And then in the neck. There's, there's already a darker front plane established and I'll just go into this slightly cooler, slightly lighter forms of the muscles of the neck. I'm using a soft touch with this during airplane strokes to describe it and keeping the tonal shift really muted.

So you don't want to have too much tonal contrast in the description of these neck muscles. The neck and collarbone is really soft and subtle. And you want to really get that subtlety. There's a little layer band where the shoulder then the curves. And I painted across the form sort of wiggling the paint on if this is like the line of the form painting with the form, going perpendicular to that is painting across the form. So as I apply the paint, I'm focusing on that and I bring a little bit of a cooler, slightly bluish gray, no into this added into the back shoulder too, there's a little bit of a lightness to the front plane, we've already got this slightly dark, darker, richer, top plane.

And so it's mostly the front plane that I'm adjusting. And as it moves down away from the light source, it does get darker, which I already have. And I just wiggle at the edge to have a soft transition. Maybe I'll bring a little bit more of this color down here. So that shows you how I would define the different planes of the face and the thing we're really looking to establish different tones and different temperatures for each plane. And we're going to keep that in mind as we move to find the features