So you've got your light side color land done And next we're going to move to the shadow side color land. At this stage, you'll use, again a large brush, you use a little bit more oil than he used in the color layin phase of the light side that will keep the shadows a little bit more transparent, which is a nice effect to achieve. You'll also really be wanting to make sure that the shadows are dark enough. So you really want to make sure everything in the shadow side is darker than anything in the light side. And also that if you squint, all the shadows sort of merge together. So the tonal variation in the shadows is fairly compressed.

So let's use the base shadow color mixture. I'm going to use a little bit of both actually. And a bunch of walnut, alkyd medium and a little Bit of my bass flesh color. And I'm going to see what that looks like on the canvas. That looks pretty good for the cheek color. Just like with the lights, you're going to put it in as close as you can and then you're going to adjust it from there.

I'm wiggle stroking along the edge to just soften that edge where the two meet just in a small narrow kind of wiggle. So you don't want to do it too big where you like lose the, you know, the shape of this place where the light meets the shadow, but you can just do it in a small way to create a soft edge as you go. That's described more in the essential skill section. So feel free to refer back to the essential skills and I'm using are also mixed a little bit of green, the variety and green into the shadow color. And that's going to give a nice subtle coolness to the shadows. gonna brush right through where the light side meets the shadow.

Sorry, where the lighter shadow side of the face meets across the jaw line and just lose that job line for now. It's because we want the everything in the shadows to merge together that you actually want to obscure some of the information initially, so that it really is all blending together and later, you can bring the definition of like where that jawline is back in afterwards. Right now I'm using a color that's a little bit warmer. I've mixed the complimentary shadow mixture of red and green together so that there's a little bit more of a brownish color here a little bit more greenish here. So just getting subtle variation and wiggling across the place where they meet. The wiggle stroke is almost sort of related to painting across the forum.

It's like a small version of painting a painting The form perpendicular to the shape of the edge. There is a shadow that cuts through the side of the eye socket here and kind of connects into the eye, which is really beautiful. And there's also a shadow, I'm wiping my brush off, by the way in between mixing new colors. There's also a shadow towards the front of the eye socket with transparent red oxide, more of a warmth to it. And that's a really beautiful shadow to this kind of shape that forms right in here, right where the nose inserts into the skull and where the brow kind of turns into shadow of the flesh. So the place where the nose inserts into the skull is just above the tear duct.

And it's useful to keep that in mind as you're going if this shifts down too low. It'll look weird. If too high for Nosal to look too long. So as you work this, just keep in mind that that place where the nose inserts into the skull is just above the tear duct line. There's a shadow shape underneath the eyelid here, which kind of anchors the eye into the face. So you want to get that in, we're painting over, you know, over the lines, really describing forms and not painting with linear lines at this stage.

So allow yourself to do that. And then into the upper lip. I'm going to use some of the sort of base shadow that we've been mixing using sort of base shadow color mix with a bit of the lighter flesh color, and I'll mix a bit of a lizard permanent into it. It's gonna make like a I'm kind of D saturated purpley pinky kind of color. And towards the top of that, it gets a little lighter. So I'm just mixing a bit more bass flesh color into the top.

So I'm working like broadly at this stage, I'm not trying to stay within the lines, I'm trying to just paint across the form and let let things kind of connect. Going into the nose, there's this really important form shadow on the lower side of the nose. I'm going to use base flesh color, mixed with some of this reddish color that I've used for the upper lip actually. And again, you can refer to the essential skill section to understand more about the structure of how to describe the features such as the nose And in it, it really describes this very important form shadow on the lower plane of the nose. And the nose is so soft and rounded that it can be hard to really perceive that sometimes. So it's important to keep in mind that it's there and to block that in.

And then there's also a cast shadow coming down the nose. So there's two kinds of shadows there's form shadows, which is like the shadow on the form. So there's the form shadow on the nose. And then there's cast shadows, which is the shadow that's being cast from a form onto another form. Often the form shadows will be a little bit warmer, and the cast shadows will be a little bit cooler, more meaning more, you know, a little bit redder, it's all relative, but the form shadow of the nose feels slightly redder, and the cast shadow of the nose feels slightly cooler meaning like slightly bluer, slightly greener. And so it's subtle stuff but I'm going to put it in with With that in mind, it can also help you perceive better to keep that in mind.

Sometimes the colors that you're working with the colors that you're seeing can be so d saturated that it's really hard to tell what you're seeing. So sometimes having the kind of color structure in your mind helps to understand the colors that you're seeing more clearly. And I'm just restating the light of the nose with a warm color. And let's see, so we also want to get the shadow side hair in. For that I'm going to use a lot of oil, I'm actually going to wipe my brush off pretty well. I'm using this grain or brush like wood green, and it's a one inch green or brush and I'll use some base shadow color, the red green mixture and a lot of oil and maybe a bit of the Blue Orange mixture as well.

So a bit of our to shadow color piles, maybe a little bit more blue. So yeah, lots and lots of oil. That'll help the brush flow more fluidly. And see how you get these hairlike effects with this brush. In the essential skill section I talk about how I'm doing airplane strokes. For this, I'm starting with the brush firmly on the canvas where the color is full and I'm lifting and pulling like an airplane taking off as I go and that gets this kind of hair like sort of textured stroke and it's working across where the end of the form occurs.

And right now it looks a little bit even. So I want to I want to make it a little bit more varied. Something like that. And let's see, I think the top color of the hair feels like ever so slightly warmer, just ever so slightly browner. It doesn't have to be exactly like what we see happening in the hair, it just has to feel hair like, I think that's especially true when it's like curly hair. It's more important for it to just feel hairlike and loose and gestural and flowing and then it is to carefully paint every single stroke.

And that's what you really want to avoid actually is the tendency to get out a really small brush and like carefully paint in every line of hair. It'll always look weak and flat and unconvincing. Instead using the brush in such a way with these kind of airplanes, stroke, sort of tethered edges, that you'll get the effect of hair that'll feel more convincing. I'm also twisting the brush as I go. So I'm starting with the brush like sort of square on the thing and then I'm twisting it as I go to create like a tapered edge. So it's like a wedge shape, sort of brushstroke, sort of a triangular shape.

And there's a little bit of the shadow colors showing in here a little bit, it's a little lighter and a little warmer, I'm using some transparent red oxide. And so with the hair, you want to be describing the forms of the locks, not like individual strands of hair. So I'm looking at how this lock right here turns and there's a light that crosses through the whole bending, turn of like all of these lines. So yeah, really looking at the shape of the locks and not individual strands of hair. And that's, that's a fine color block and for the hair, I think lastly now I'll just bring a little bit of definition to the jaw. I'm going to just bring a slightly darker warmer color into here.

I also need to just go in with the shadow color on this side of the shoulder. Just face shadow color with a bit of face flesh color to lighten it. And you'll also actually want to just address the background at this stage too. I like a lot of this already and it's basically just white black or gray, and a little yellow ochre, and I just want to make it, you know, all wet, new paints. So, actually, I'm going to shift to a larger brush as I do that. darken the color a little bit from my first shot.

Now lighten up a little bit so it can take a couple tries. And that's too great. So I'll add a bit more yellow ochre. So you can see how you put it down and then assess and make the corrections. And with the strokes, the direction of the strokes you want, I'm putting it in with the form like this, just for sort of the easiness of it to get the shape of that head, but then I'm going to wiggle across the form afterwards so that I don't get a halo like shape, mirroring the shape of her face. And instead, there's Sort of changing brushstrokes that don't follow the shape of her face.

And I'm bringing it right up to the color of the hair. So the wet paint of the hair can mix into the wet paint of the background. You want to get that sort of interweaving at the edge and I'm going to go ahead and darken the color slightly, just with a bit of black. As it moves into this area, maybe even a little bit more maybe a bit of black and some ultramarine blue. I'm also keeping the edges of where it meets on the shadow side even more soft and last. So the hair like where it meets the background here.

It meets in it has a really soft, last edge. It's nice to keep the edges of the shadows really soft, it helps them step back more and it This stage is nice to have mostly soft edges in general. That way. As you refine things, you can sharpen the edges and bring more detail. But as you're just blocking it in, things may move around and stuff. You won't have like a really distracting sharp edge in your way.

So now we've got the light side land done and the shadow side lay and done. And next we're going to move to big for modeling darkening at the edges, and then we'll start to describe the planes of the features. So bring your painting up to this stage and we'll move to big for modeling next.