A live demo from my studio, doing a digital caricature painting in Photoshop of Seymour (Rick Moranis) from Little Shop of Horrors. I’ll take questions over chat while working.
Transcript:
all right are we are we on as they say
hello if here and you want to say hello
let me know where you’re watching from
just type in the chat
I’ll frequently check back for to see
you if you guys have any questions I can
address during that time wait a little
bit here waiting for some people to join
the group
hello Antonio thanks for joining
can y’all can you hear me all right just
want to check the sound before I get
into it
you know just again let me know if you
can hear my voice alright in the
comments or in the chat welcome Eric
thanks for joining us okay
I’m assume everything is good to go here
I’ll just go ahead and get started here
so last Saturday I did a livestream for
a caricature group I belonged to the
iske International Society of caricature
artists and they’ve been doing a lot of
live streams this past week with
different artists who are members of the
group to help people with this whole
isolation thing and I my stream on
Saturday for them I started this
caricature of Rick Moranis and Ellen
green from the movie Little Shop of
Horrors it’s one of my favorite movies
when I was growing up
musical comedy and and I worked for
about an hour and a half and I got I did
the drawing and I got a little bit of a
start on the painting so here I’m just
gonna continue on the painting and
hopefully I’ll be able to get see more
done tonight and I probably be able to
do anything else besides that but what
I’ll do I’ll probably do a future
livestream working on the other figures
in the composition here so with that
let’s go and get started
all right so as you can see I just got a
real basic start on Rick Moranis his
character here it’s uh you know I kind
of focused on the nose and didn’t really
do much else I just sort of blocked in
some of the other colors so I will start
with I guess we’ll get some texture
brush here and kind of a streaky linen
texture there it’s a the time in the
painting I think to start giving that
illusion that you know the effect of the
painting trying to make it look not so
digital
so you think of questions along the way
just let me know and I’ll answer them
I’ll try to check back with the chat
here and see if anybody has any
questions about anything doesn’t have to
be about the painting and can be about
anything in general you want to chat
about whatever
hey Jeff from Atlanta welcome
so Antonia has a question what’s the
difference between illustration
caricature and fine art caricature
that’s a good question I mean the most
literal definition is one is for usually
a commercial published purpose and the
others to be a original piece that’s
going to hang on the wall but a little
more in-depth explanation of the
difference might be illustrations
generally tell a story sort of like
you’re thinking of the classic Norman
Rockwell where you might see a character
or two and there’s an interaction and
you can sort of determine what’s going
on like it’s part of a narrative or it
might have not necessarily been
narrative but a message like an opinion
that it’s expressing about the subjects
like a political cartoon or something
that would be more like an illustration
so if there’s any kind of like story
content or narrative being expressed it
can it to me is more like an
illustration so this I think maybe is
more like an illustration I I don’t you
can see it here it’s got the carrot the
two characters interacting and his
little man-eating plant between them and
it seems like it’s kind of like a scene
from the movie or illustrating a part of
the movie but that being said
illustration to me I mean some of the
best fine art that I like looking at is
when they have works of famous
illustrators in a museum like I went to
the Norman Rockwell Museum a year or two
ago and it was just it rivaled any
paintings that you might see museums in
Europe I mean it’s just beautiful
beautiful artwork to look at so I think
you fit in the context of a museum and
hanging on the wall illustration art can
be fine art so there’s a lot of
crossover I think you can
it doesn’t have to be one or the other
but if you have an idea in your mind
where you want to be a caricature
illustrator you got to have more pieces
that tell a story and that have
narrative or editorial content in it
you’re gonna do more fine art
caricatures your stuff will be more like
just caricature portraiture where it
might be a single individual you know
not necessarily doing anything just you
know exploration of the person’s
likeness and personality tearing from
Australia hey thanks for tuning in
all right an art class cool
stan asks do you feel that you have to
think hard about what you’re doing or do
you operate primarily on instinct you
know a little bit of both the more
experienced I think you get with
painting mostly painting from life like
from the model or from still eyes for
landscapes you develop really good
sharper instincts for what to do in your
paintings so it does become a little
more automatic however I mean even the
you know I think the best artist stars
who I admire still I mean they’ve told
me you still have to concentrate and
think about what you’re doing is I know
you can just tune out and expect to get
a good result because you’re constantly
having to think about all the variables
going into the painting from the shape
and the design and composition the
lighting values and color temperature so
you know you might do it in a way that I
think the gears are turning inside and
they’re you sort of react more to the
situation of what you’re seeing
based on your experience that you have
with art so the ability to do that the
ability to react and from instinct comes
from just tons and tons of experience
you know painting different subjects
with different lighting situations and
it just you know it’s it’s not something
you have to work up towards so yeah I
don’t think the thinking ever stops
you’re always going to be conscious of
what you’re doing on a certain level but
the more you do it I think it can be a
little more relaxing and meditative
alright Jeff from Atlanta
hello I would never say how do you maybe
I did let’s see yeah just people chiming
in good to hear from everybody
so what I’m thinking about now mostly is
just still blocking in the big forms of
everything
try not to get too involved in the
details I just want to stay back from it
as far as possible and I want the forms
to be able to be readable like has
three-dimensional so all the facial
planes you know right now it’s still
kind of still kind of flat I wanted to
feel a little more 3-dimensional before
moving on and doing any kind of detail
work so I’m gonna do some lighter areas
here and some darker areas until it
starts to feel sort of sculptural if
that makes sense and I’ve got colors all
over the face now I’ve got pinks and
blues and browns and all sorts of
different colors that I can sample
colors directly from the painting itself
so I’ll grab a color from the nose the
bottom of the nose at the top of the
nose or the eyebrow I’m trying not to
use the you know the Photoshop color
picker as much just because it’s a
little inconvenient to constantly go
over to it you know to open this window
up and you know if you watch me paint at
all before you know I always talk about
the importance of mixing your own colors
choosing your own colors and not
sampling them directly from your
reference photo and you know I might
sound like a broken record to some here
but if you do that you’re cheating
yourself out of learning about color and
value and saturation you’re not getting
the skills to be able to work with color
intuitively and plus you know if you’re
just trying to get an exact photo copy
of the colors your paintings aren’t
going to be as interesting I think most
interesting paintings have a unique
sense of color that comes from the mind
of the artist and not necessarily what
was there in reality you know the more
you do this the better you get a color
the more people are going to actually
respond on an emotional level to your
paintings based on your own color
sensibilities which will be different
from someone other other artists
Thank You Stan
how’s everyone doing with the social
isolation you know are you doing that
all righty is staying in your Studios
were key and I hope and some places you
can still you know go out hiking and
biking and that’s what I do a lot when
I’m feeling a little pent up I’ll just
you know go for a ride and there’s some
parks you know some preserves and stuff
nearby I haven’t gone out hiking into
the nature preserves in a while but
they’re still open around me here in San
Diego I might might do that the next
couple days just as long as it’s not too
crowded out there if there’s any people
I’m gonna try to avoid the situation but
kind of use the opportunity to get
outside a little bit when you can just
try to do it away from other people
hanging in there taking a walk at least
once a day yeah definitely it’s nice to
go out in the morning for that morning
light you gotta get your vitamin D
studies have shown though you get out in
the Sun and get some natural vitamin D
it helps with anxiety or depression
which you know a lot of people locked up
in their houses especially if you’re
living alone could start be a big
problem
gonna reshape the back of his head here
it’s a sound like a nice straight line
for the back of his head
I’ve made it a little over exaggerated
the contours then I really wanted
Eric says I’m doing a couple of the
Facebook caricature things the April
Fool’s one starts tomorrow but I’m a
week ahead I’m not sure what you’re
talking about there with the yeah every
time with the iske group the drawn
together videos or jeff says they closed
all the parks here which is a bummer it
really could only walk in the
neighborhood and yeah just something got
to put up with for a little while
unfortunately Levi says whenever I start
coloring in this way the drawings become
flat yeah yeah that’s um I think the
danger there what’s maybe causing that
is just using the same color and value
too much over a large area that’s why I
tend to like to first stain my paintings
meaning I I color underneath the line
art as if I’m using thinned down paint
and then I can use big broad colors over
a large area which is like sort of what
I did here in this layer that I’m
exposing and then once I’ve done those
staining layers then I’ll do an opaque
paint layer on top of that and you have
to be a little bit more reserved about
what about how much you use paint in a
certain area how much you’ll use a
certain color in a certain area you have
to constantly shift what you’re doing
and sample a lighter or darker color
from somewhere else in the face and and
just constantly move like move brush
around and that’s why it’s I think a
helpful habit to start with oil paints
or gouache or watercolors first because
you have a finite amount of paint on the
brush and that will run out after a
couple strokes you’re gonna have to go
back to the palette to make a new
decision about what color you want on
there with digital you can use the same
color infinitely without rest and that
can create that bad habit I think so try
to think more like a painter I think the
you know like a traditional painter I
think there are some brushes in Corel
Painter that you can have loaded and
then they they run out of paint after a
few strokes and you can set that to
however long you want it to be and that
might be a good way to sort of trick
yourself when painting digitally to
paint more like a traditional artist
I do have to sometimes go back to the
Photoshop color picker here and get a
new novel color that I haven’t painted
with yet in this case I’m gonna get the
cool light that’s on the top of his hair
and keep it kind of messy and simple for
right now Oh Eric it’s caricature
resolution oh okay yeah and yeah I don’t
participate in that I usually don’t keep
up with challenges like that Jeff says
that lived in Carlsbad many years ago I
miss walking on the beaches at Carlsbad
it’s beautiful I made a list of comic
actors and comedians to inspire
silliness okay thanks for the
explanation
let’s do a little slightly darker color
this we’ve got the darkest color in the
composition here on the back of
Seymour’s hair it’s dark dark brown I
made my color a little more Brown than
it is in the photo the photo reference
you know it’s a movie still so it’s the
colors gonna be a little funky there’s
probably a little more green in there
than I might want and it’s not as
contrast to overall as I probably want
for my painting so I’m just sort of
eyeballing the reference photo and
translating that into the kind of colors
and values on one who’s in my painting
Matt Harvey says we’re fairly locked
down in the UK only allowed to exercise
and walk outside once a day with all the
parks closed strongly advised to only
shop once a week for essentials yeah
that’s kind of what we’re trying to do
here – there’s not such a strict law
about saying you can or can’t I guess
right now but that’s the habits we said
I’m trying to adopt here in our
household Antonio says hit court how
many hours do you draw on paint a day it
depends on the day you know I just this
is my first drawing session of today
well I mean I was sketching a little bit
beforehand working on this image
actually but yeah any time anywhere from
like two or three hours up to about I
can only handle about six or seven hours
total maybe if I’m working on something
about the painting on the easel you know
work on it an hour to then take a long
break and then come back for another
hour to go take a walk and then come
back yeah I get burned out really fast
like concentrating so much on a single
piece especially if it’s not going super
well I get kind of disheartened and I
figure I better come back with fresh
eyes and a hour or two and and then
before I know it it’s time to go to bed
my camera just blinked out for a second
there hey Cort how can I become your
disciple yeah well just come over to my
compound and I know you know if you
don’t follow the proko caricature course
that might be a good place to start if
you want to watch my lessons there there
over on the proko YouTube page but you
probably already know about fans so
stan asks do I ever have trouble
considering the drawing finished and how
do you know when to stop real common
question and you know there’s no good
one answer unfortunately it’s just you
know when you know and it depends on
your aesthetic you know what what kind
of art you like to see like what do your
favorite artists do do they leave a
really rough unfinished look are they
super finely rendered and blended and
detailed and you know the kind of
artwork that you like to watch and see
and you know the kind of artwork you can
just stare at all day that’s probably
the sort of aesthetic you would might
want to do in your own work if you wanna
think about it that way just look look
at what your heroes are doing and try to
strive for that level of finishing your
own work not that you have to be a style
clone of them or anything like that it’s
just
it’ll just you know you learn stuff
about yourself by what kind of art you
like to surround yourself with and kind
of art you find yourself going back to
time and again
watching this is extremely relaxing oh
good you know do what I can to help ease
people’s anxieties hello Jade ki Jade
Jade kay from Orlando
sort of building up to my highlights
here there’s not a lot of strong
highlights on his face I mean there’s no
real shininess to it or anything I did
put a bit of a shiny reflection on his
nose but that’s just sort of one of
those artistic license things where it
helps me forms I think look a little
more three-dimensional I definitely want
to overdo it with any of the highlights
because what I’m sort of thinking in the
back of my head here is what the
finished paintings gonna look like and
I’m I want to maybe have it as sort of a
backlighting situation where there’s the
Sun behind him there’s this one part of
the movie that it’s not in the reference
that I’m looking at here but where
they’re singing a duet with each other
and there’s the Rising Sun behind them
and it’s great a nice circular
composition and it’s very bright behind
them so if I put a lot of highlights on
the face it might look kind of weird in
a situation where they’re backlit I
don’t know if I’m gonna do that
I’ll sort of figure that out as I go I
might just go with a simple you know
abstract color here I kind of think I
want to make it lighter though in
general matte darker for the background
yeah Tonio says i tried to draw on paint
for eight hours a day but i couldn’t
keep it up fatigue was a lot yeah it’s
very mentally exhausting to draw and
paint yeah because you’re focused and
concentrating your brains like working
and overdrive sometimes and that you
just can’t keep that up for extended
periods without consequences and you
know you don’t want to do it so much
that you get burned out and fall out of
love with doing art so I definitely
don’t do it too much myself you know
yeah I probably should draw and paint a
little more I mean I watch you know too
many YouTube videos and single too much
karaoke and find other things to busy
myself around the house you know doing
errands and cleaning up I mean stuff
that’s got to be done but I would like
to make more time for art than I do you
know I guess we all sort of feel guilty
about our own vices and you know you
don’t feel like we could be doing more
work I think and we actually end up
doing
Matthew asks what size wacom are you
working on I’m using the 22 inch Wacom
HD it’s one of the older tab well not
super old I mean I bought it new about
what three or four years ago probably
but even then it was sort of an older
model that was on its way out but I
liked it because it actually still has
the shortcut keys or the Express keys on
the side you don’t have to use that
Express key remote which we do it on the
newer ones which I’ve got right here I
don’t love it though I just you know
always forget which buttons are which
too many buttons and the battery runs
out but I do have it in case I need it I
mean there are certain tasks I do that
are streamlined by the remote a little
bit but I do really like having the
buttons just right here on the side I’m
installed on the tablet are you planning
on making this available to buy as an
art print it’s one of my favorite films
in your styles gorgeous thank you Eric
you definitely yes pretty much anything
that any painting I do that’s finished
anyone can contact about about getting a
print done
I might even want to do this as an
original like when I get finished at
this I might want to do an oil painting
of it too because it’s I love this film
too it’s one of my favorites from from
childhood and it’s just such a cute
movie if I do do you know a oil painting
maybe I’ll livestream part of that too
who was it that said no work of art has
ever finished only abandoned I know I’ve
heard that quote I can’t remember who
said that and it’s whoever said it you
know probably been misattributed to
someone else you know ever thinks said
it I don’t know but yeah it’s true I
mean that is kind of a way that we all
sort of look at it is you could work on
something forever and ever it at a
certain point you just gotta abandon it
and move on to the next thing otherwise
you just won’t get done
he doesn’t have that strong of a jawline
I realize got us from paint over that
here maybe just a slightly darker
halftone
jadi kay asks any advice on where to
start as far as learning about color and
basic painting principles we’ve done a
lot of drawings some airbrush work but
overwhelmed where to start and coloring
with color musts yeah that’s I mean it’s
just something I tackled as part of my
art education at the Watts Atelier here
in San Diego and I don’t date they do
have I mean they’re expanding their
online class offerings I’m not sure if
they have color theory yet but I’ve
learned some great color theory they’re
from an artist who was teaching at the
time called
named Ron lemon and he’s not at the
Atelier anymore he might be doing
something else online where he could
maybe learn from him virtually and I can
I have some theories on our on color but
you know I definitely not a color theory
expert you know it’s just uh I just
learned over the years you know how to
start based on my experience with life
drawing and painting like a you find out
the most practical way of starting the
painting by watching other people doing
it and then making your own mistakes my
digital process
mimics very closely my traditional
painting process when I’m working with
oils so after I get the drawing laid
down I’ll put a wash of color across the
whole canvas like this medium gray color
or a warm brownish gray and I do that
because I like to kill the white of the
canvas so it doesn’t unduly influence me
when I’m making color and value
decisions about the face people that
start on white canvases and they have
trouble with painting it’s usually that
they’re the values are too light on the
face and everything will look sort of
light and washed out but if you start on
the darker canvas from the beginning
you’re going to give yourself a better
chance of judging the values on the face
correctly
so as I mentioned earlier just joining
us what I’m primarily focused on right
now still is just getting a sculptural
feel to the forms of the face making it
look as three-dimensional as I can so
I’m staying zoomed out as far as I can
trying to resolve the big forms without
getting into many of the details you can
do a surprisingly large amount of the
painting that way without having to zoom
in or get too focused and distracted by
details I mean my brush worked when you
zoom in might be kind of sloppy and
loose but from a distance like looking
at it full size or zoomed out here we
can see the whole head it doesn’t
nothing really bothers me about the
brushwork yet there are definitely
places where I’m will want to zoom in
and do that I just don’t want to do it
soon because it’s going to it’s not just
not the priority that I have set for
myself right now
got it all configured I’m just getting
back into YouTube here hopefully I’ll be
able to pick up where I left off I think
we’re back up you can see the comments
again
Thanks
hey we’re back
hey cool real sorry about that I don’t
know what happened there it’s uh I’ve
been live-streaming on this few times
here nothing like that’s happened but
such a way of computers maybe I’m
getting too ambitious with my little
floating head here if it happens again
I’ll maybe just not come back live on
the camera and just do the screen share
but I think we’re we’re good for now so
I’ll just continue the painting and tell
Debbie she rocks
Debbie you rock they say okay and let’s
see if I can catch up on any questions
here I think there was a question from
Pocket broken about drawing caricatures
of people of color and how do you do
that without being racist I can just
tell you from experience I’ve drawn tens
of thousands of people over my 20-plus
years doing live caricatures and I I
don’t remember any reactions from many
people that I’ve drawn that have ever
where they’ve accused me of being racist
when at least maybe they not to my face
another caricatures they’re in the same
boat I mean you just draw people’s
features like what makes them look
unique and if you’re true to that
without any extra baggage of your own
you know if you I mean if you are a
racist if you have certain
preconceptions and don’t like certain
groups of people that might show through
in your drawing but if you’re truly not
a racist person I don’t think that’s
going to be a problem when you’re
drawing anybody of course it’s always an
up to interpret what happening I got a
little error message
music get some message about keyframes I
don’t know what that means anyway
hopefully I’m still on can you do what
oh yeah hey by the way if you want to
follow my wife Debbie the artist maybe
she can add it in the chat but on
Instagram she’s at at Debbie Does
drawings and she does a lot of great
cute artwork and she does caricatures
too like me we actually met at the
caricature artists convention many many
years ago so anyway that’s worth a
shout-out to Debbie therefore yes anyway
um yeah I mean there are certain times
where you maybe you want to be so
sensitive to anyone really who is
embarrassed about some feature that they
have because I’m not out to destroy
people or make them feel bad when I’m
drawing them live or in a in a studio
situation it’s just about having fun and
making people look unique and
interesting and bringing out what makes
them unique like if someone has you know
you know I that goes off in a different
direction or some other things about
themselves that’s an obvious thing about
them that makes them really different
you just got to kind of play it by ear
if it’s someone you’re drawing
personally in front of them and I would
say you need to acknowledge those things
but you don’t have to overly make fun of
those things if it’s like what I
consider an injury or a birth defect or
something like that I hate to use that
term because I love things about people
that make us all unique and different I
love how different everybody is and all
the things that make us look different
from each other it makes my job more
interesting so you know with that in
mind there are certain there is a
history of racially stereotyping certain
groups in our society in American
society especially and you might want to
be sensitive to that you know like
people used to wear black face and
minstrel shows and things like that it’s
kind of an ugly history that we have in
our country but you know it’s it’s just
it’s a thing we have to be sensitive to
it but you don’t I think have to go out
of your way to avoid drawing the unique
features of different races again I just
speak from experience I’ve never really
had a really bad experience with that so
I guess I’m doing something okay anyway
back to painting here luckily my drawing
got
served and it were able to be recovered
so it didn’t lose all my work
let’s see more shirt is pretty much the
exact same color as the background here
I mean the background won’t stay this
background color but I rep right now
it’s it’s almost a perfect match
by the way thanks everybody who stuck
with me through that technical
difficulty there I know that’s kind of
annoying and we’ve been having a lot of
trouble streaming Netflix other things
like that because I think just
everyone’s at home using the band width
in our neighborhood and in our system so
who knows I mean maybe something
happened there I mean my computer
crashed it wasn’t necessarily a drop out
of the signal but it might have
something to do with it I really don’t
know how all that works
okay let’s um go ahead and zoom in a
little bit here see what we’re working
with and then I can maybe refine some
areas a little bit more okay and well
they’re kind of questions we kept going
on here
Sergio asks by the way I love the name
Sergio it’s my understanding you do
blink-182 original rabbit yes I did I
was friends with them well my brother my
older brother was more friends with the
band back when they were just getting
started and I think when I was in
college they asked me to do the rabbit
design for them they’ve used a rabbit in
some earlier like promotional artwork
for their band like stickers and
t-shirts the bunny from Alice in
Wonderland but they wanted a more
punk-rock one so yeah that was my
earliest sort of thing that hit it big
let’s see yeah a permanent one asks
what’s the best way to design
composition for paintings when you don’t
have a clear reference to work from a
composition like color theory is a huge
subject that you know I have a lot of
thoughts on but you know I’m not exactly
a composition instructors like probably
don’t have the best advice for you other
than just what I do is if I don’t know
yet where I want I have an idea for a
painting or a subject I want to draw or
illustration I start basically the same
way I just do lots of little thumbnail
sketches little blocky values of just
two values light and dark just try to
breaking up the space in a pleasing way
you know where I might just drew a stick
figure or block figure for the represent
the people in any other elements that
are gonna be in the painting and just do
several of those and there are certain
compositional I don’t want to call them
cliches but well used compositional
arrangements I think they’re in the book
composition for outdoor painting by
Edgar Payne I think that’s look I’m
could be wrong but it goes over has
pages and pages of typical compositional
arrangements like the L composition the
S composition the tunnel the steel yard
triangular you know they all sort of
have different symbolic connotations
like a you know a formal composition
that’s symmetrical can indicate
something that’s very serious and regal
like the coronation of a king or
something or a religious picture whereas
something in a triangular composition
can show hierarchy or dominance of one
thing over another like the thing that’s
at the top of the pyramid structure in
your composition will be dominating
everything that’s beneath it I’m
thinking of this one Frank Frazetta
illustration where it’s it might be
Conan or might be death-dealer where
he’s up at the top of this pile of like
warriors and trolls and ogres and he’s
just like about to slice them all so
it’s a real classic triangular
composition so there’s things like that
you can sort of rely on and fall back on
but it more or less it just comes down
to just balancing out the idea for
yourself for the situation that you need
it to be in
yeah just starting out with thumbnails
is my best advice for that
Lester West asks if I’m using default
brushes or something I’ve made or came
up upon both right now this is my own
individual brush that I made and it
looks kind of like that you can kind of
see that there’s it’s very spotty but it
also has a sort of a linen texture to it
and I scanned one of my own
linen canvases that I like to paint on
and I turned it into a Photoshop texture
and applied it to this brush in my I
have a proko video on how to paint
digitally in a way that makes your
digital paintings look like their
traditional paintings and a few minutes
into it I give a detailed brush tutorial
on how to make a brush very much like
that one so check that on YouTube it’s
called painting digit painting
traditionally to make it look
traditional or something like that
oh and but to answer the rest of your
question I’m also using a combination of
Kyle Webster’s brushes that come with
Photoshop and one of my other favorite
brush sets I ever got was from the
artist Sarah geek oldest off who goes by
helling
I think it’s PE le ng and I think you
can buy his brush sets I think I got it
for free when you know he was before he
was charging I mean I don’t actually
know if he’s still charging but you
might want to check him out maybe he’s
on patreon I might be able to get
brushes if he doesn’t give him Q over
his website anymore I assume he still
does but he made a bunch of great
brushes and he’s just a fantastic
digital painter
okay where can I work here let’s let’s
resolve this guy a little bit here and
then I can move out from there I’ll
probably switch brushes actually got my
brushes over here already open I don’t
need to go back and open them
so I can’t zoom in on my photo reference
any more than what I have it’s not a
super high-res image so I’m just kind of
going off of what I think it looks like
in there and just on my anatomy
knowledge of the human eye but I don’t
need to go into it a crazy ton of detail
just because it’s not you know when you
zoom out you really don’t see that kind
of stuff anyway but I do want to get a
little bit more things resolved before
moving away from the eye here
hey Roger your backup there we go yeah I
think it was your honor you cursed me
you hex jinx to the livestream Roger
Hurtado the famous caricature artist
from Chicago
soften the edge of this eyebrow here so
it doesn’t look quite so painted on I
can’t forget the main shape that it’s
got this sort of crescent shape to the
eyebrow which makes it look like he has
a slight expression of fear even though
it’s not really fear it’s just he’s
bringing his eyebrows up in the middle
not much blue in this picture I’m gonna
go get some blue in those glasses it’s
slightly cooler color here and the
glasses as well
my wife’s reminding me to save the image
but I don’t really need to it Photoshop
recovers it automatically apparently
even after the blue screen of death
stan asked do ever lose the big picture
when concentrating on the details for
sure that’s why I always tell people
stand you know keep zoomed out as much
as you can and working on it and you’re
working at an easel step back as much as
possible because yeah that’s that’s the
main danger that’s why we try not to do
that too much because you can get so
focused on a detail that you resolve
this great little area but then when you
pull back you realized oh the values and
colors don’t match anything else around
it it’s not harmonious anymore because
you were just making decisions on a
micro level and you really need to make
decisions on a macro level for the whole
piece all at once Jay says that touch
the eyebrow was awesome small touch with
a massive effect yeah thanks
yeah that’s true Eric I’m gonna go ahead
and save it again just be safe
control s I think there’s a way to make
Photoshop do autosave I should probably
look into that set that up you have a
pretty frustrating story though about an
illustration I was doing a little last
year it was for this project with Barack
Obama and Joe Biden sort of as
adventures throughout the multiverse and
I was painting them as if they were the
Blues Brothers and I had pretty much
almost entirely finished the painting
when I got a computer when I got a crash
I think it crashed when I was saving it
actually in because that happened it
corrupted the file and I lost the entire
painting and I had to redo it I mean had
the original sketch saved separately oh
yeah that was kind of frustrating Stan
says I find ears are incredibly
important to get right yeah yours there
especially in a profile I mean they’re
just front and center
you know this goofy weird features that
everybody has and they there’s kind of
alien-looking when you look at them but
yeah it’s important to understand the
anatomy of the ear and basically have
that memorized because everyone’s ear
anatomy is roughly the same it’s just
slightly different proportions and the
ridges might slightly be more sharper
for some one person than it is on
another
Roger says he’s getting a lot of
buffering too he’s mostly listening to
advice when he’s drawing oh cool so I’m
the soothing presence in your studio
Roger J says I know Rockwell was big on
using eyebrows to convey emotions and
expression any features you think have
the most impact on expression yeah my
personal theory is I think the mouth is
the most expressive feature of the face
personally we tend to go with the eyes
is the default response but the mouth
has way more muscles that control it and
you can do a lot more subtle subtle and
big expression changes with the mouth
now it’s maybe not as important in
interpreting expressions when you’re you
know reading the mouth because you can
still have an expression of anger or
fear or whatever without the mouth you
know a lot of that it can be expressed
with just the eyes with smiling though
you need to have the mouth involved
pretty much but the mouth is definitely
most expressive the feature of the face
it’s the most controllable which makes
it kind of the hardest feature to draw
if you ask me because it’s so movable
and it looks so different from so many
different angles pocket asks are you fan
of G ding yeah definitely
he’s so cool really really nice guy I
met him a few years ago in in Austria at
the Euro sure convention and yeah he’s
just a really really good artist and has
a really cool process for coloring his
paintings where he does different layers
where he’s doing like the local colors
on one layer then he does like a value
map on another layer and then special
effect lighting on another layer and he
combines those different layers and
blends them in different ways to create
this really really interesting looking
paintings that you just can’t get with
any other process by than by what he
does are there any other caricature
artists or portrait artists you would
suggest people follow and learn from
yeah I mean you know I think one of the
best guys in the country right now doing
it is Jason Siler just all-around great
guy good artist as traditional art work
just as well as he does
catchers a lot of the famous
illustrators you’ve probably heard of
like dan at Dell was an early hero of
mine just really great painter overall
who else Krueger the master of them all
which you all I’m sure know who else
Lots John kunio-kun AO does he’s great
watercolor caricatures he also does a
lot of sort of body cartoon sketches too
from the sketchbook and you should
follow him on Facebook he does some
really interesting stuff makes me laugh
so many to mention to think of you know
I’m if I start listing off more names I
know I’m gonna miss people that I really
should have named and I familiar with
Damien done um no I’ll to look well you
know the name sounds familiar I know
what Dan done maybe I’m getting confused
with him but I’ll definitely check him
out
it’s real easy to get lost in something
like the year two with all these peaks
and valleys it’s just important like
with everything else just to sit back
from it and not get too involved and
just think about the plane isn’t the
folds where the lights hitting or the
shadows hitting where you should have a
hard edge where you should have a soft
edge maybe you where you can even like
lose an edge you don’t have to define
every single edge you know some for real
painterly effect you can lose and blend
your edges
okay that’s good for the ear for now
it’s a little rough but when you pull
back it should look pretty convincing
now it looks like I’m getting a error
that YouTube’s not receiving enough
information and I may you guys may
receive some buffering so don’t panic
it’s just it should catch up with itself
before too long
you guys still there I got a warning
about possible buffering still see me
okay
well there’s about 30 seconds behind so
not seen any new comments but because no
one’s commenting there’s no technical
problems still here okay thanks Dan
I need constant reassurance
switch over another brush here called
broad and lost edges I think that’s a
Kyle Webster brush I like it it’s kind
of gives a good nice subtle blending
effect because I’m using this streaky
linen brush so much that everything
looks like it’s getting kind of because
a fur texture or something and I just
want to like minimize it in some areas
but I don’t want to kill my earlier
brush works entirely I just want to give
a little more variety to the to the
forums here
oh good you’re all still with me all
right I said I’d go about an hour and a
half on this so I’m gonna extend it by
another 10 to 15 minutes or so if that’s
all right with you guys just because we
had that crash happened earlier not sure
though how the Heeia the archived
version of this video is going to look
there’s gonna be a big 50 minute gap or
it’s just gonna push the two clips
together we’ll see
stan asks how do you decide what to
exaggerate and what to leave realistic
what inspires any Distortion
now the word distortion for me that’s a
very potent word I don’t like using it
when referring to caricature that’s okay
I know what you mean to me distortion
means something that’s sort of
unintentional changing of the forms like
something that’s not a conscious
exaggeration I just I go over that in my
course but I do that more it was just a
way to get people to think correctly
about exaggeration and caricature it’s
more of my own personal concept and not
really a universal concept about what
distortion means but how do I decide
what to exaggerate and what leave
realistic I’m just serving the likeness
basically every time I do a new sketch
and figuring out a caricature I just I
do try to get away with as much as I can
exaggeration wise while still drawing
the features themselves realistically so
the ear looks sort of realistic the eye
looks sort of realistic they’re just in
a place and then in a size that’s way
different from portraits so I’m
exaggerating their size relationship and
the distances from each other to
heighten the effect of the likeness and
to heighten the effect of humour and and
that’s just more of an instinct than you
develop after years of doing it I mean
there are principles about exaggeration
you know which I go over in the first
lesson of my proko course about how
basically whatever makes a person look
unique or different from the average
those are the traits or features that
you exaggerate you exaggerate those
relationships even more to bring
attention to them and to make them look
more of what they already are so it’s
just that simple concept but just
applied to a face and apply to all
features of the face and it’s a simple
concept to understand but a really hard
one to execute and the only way you get
better at executing the concept of
exaggeration the more practice you do it
the more practice you give that subject
the more you do it the better you’re
just gonna get at it instinctively
because you’ll find out by trial and
error what works and what doesn’t and by
looking at the works of other artists
that you like you see the types of
exaggerations they do and how
far they take it you can do studies of
other famous artists work to like if you
want to learn from Kreuger about how he
makes his exaggeration choices do a
study of a Krueger just try to replicate
it you can try to find his original
reference photo of that celebrity or
ever it is that he drew and then when
you do your version of it well when you
copy Krueger’s caricature you can kind
of see how far he took it in certain
places and how what other areas he left
a little more realistic or less
exaggerated
yeah so just softening some of these
brushstrokes still it may not look like
I’m doing much but that’s kind of the
effect I’m going for I don’t want to do
anything really harsh at this point it’s
right now it’s more about the subtlety
so I thought it was a little too dark
under this chin here so I’m lightening
it up and softening those strokes I’m
not using a smudge brush or anything
it’s just a brush that here I’ll just do
like sort of looks sort of like that it
has a nice grain to it like that so it’s
not like an airbrush it still has
texture to it so it’ll add texture to
the painting but just a much more subtle
texture it’ll still allow paint
underneath to show through the
brushstrokes sort of like what happens
you paint a real oil acrylic painting
so anything that’s a little too harsh or
hard-edged like maybe Ares in the ear
here I can now soften those up by just
sampling the little colors in the ear
and spreading that color around to the
adjoining areas but I don’t want to
overdo it I like to keep those hard
edged strokes in places but here I’m
just trying to now soften some of those
hard edges that sort of dominated
everything and these streaky hairy
looking brushstrokes that were just
everywhere I like them on the nose I
think I’m gonna keep them there just
knock it down a little bit but it’s sort
of like similar to taking your thumb
through wet paint and sort of lightly
going over an area taking the dry brush
maybe or like a sable brush maybe it
might be a better analogy not because
the thumb can sort of take off paint
rather than smear it around
zoom out a little bit and see what we’re
dealing with definitely looking better
looking more three-dimensional and
realistic I’m going to continue knocking
some of these values down a little bit
like down here in the neck
because there are areas you don’t have
to have interesting paint strokes
everywhere if you want areas for your
eye to rest that’s what this technique
kind of does that see any questions we
got here yeah what you can get away with
that’s yeah that’s kind of what I asked
myself all the time in my head is how
much can I get away with sorry it’s not
coronavirus just joking caricature is a
portrait but the volume turned all the
way up yes wasn’t that that wasn’t some
book I think was that in the beginning
of the Krueger book can’t remember Leo
asks how many brush styles are you using
in this one caricature so far I think
I’ve used three different brushes I
think so yeah like well I used a really
simple basic round brush with no effects
applied to it for the earlier stains and
then for some of the earlier painting
and then I switched to a linen scratchy
brush which sort of the sort of rough
separations of the brushstrokes within
that brush then I used sort of a linen
or that yeah it had a linen texture
applied to it and then this one I’m
using is soft and lost edges brush by
Kyle Webster I think three three to four
I might missing one
I’m gonna move into this hair here and
now using a different brush and this I
think is a brush I made myself it’s
really really close together brush
strokes like that so it looks like a
loaded bristle brush but it goes down to
a taper lighter pressure and I get some
less opaque with lighter pressure too
and I find that works really well for
subtle of hair effects I’ve already got
some big blocky strokes in the hair and
now I want to soften just a bit
oh you’re Eric you’re watching this on
your phone and it still looks good
that’s good I know a lot of people do
watch on their phones I saw some of the
analytics for my last one and it’s
pretty surprising
I mean phone screens are bigger now I
still have kind of a small iPhone those
I don’t like looking at videos on it if
I don’t have to it’s getting more blue
in the air
stan asks do i use multiple references
of the main subject yeah a lot of the
times I do
there is another picture of Seymour here
that I had let it go oh it was up before
it crashed but um yeah it’s a picture
him from the front and I had a really
good view of his face where he had a
pouty lower lip and I just kind of used
those things as sort of a background
reference I try to keep in the back of
my head which helps me and helps inform
me about what to do with the likeness I
even if I don’t necessarily use them in
the main image that I’m painting they
can definitely be helpful for getting an
all-around view of your subject so
anytime I do a commissioned piece from
someone I especially I don’t know I’ll
always ask them to send multiple photos
of themselves from different angles just
so I can get an all-around view of their
head even if I don’t ever use them it’s
very very helpful I think it’s sort of
like being there in life like life
drawing caricatures is usually the best
way to draw but it’s not very practical
especially if you’re doing a celebrity
so yeah finding multiple reference
photos is the next best thing
so SEMA always had this you know messy
hair I think it was part of his costume
design or his character so it’s a little
tougher to actually do messy hair in a
way that makes it still look good in a
painting because you still have to kind
of design it you have to have good
abstract shape design in that in things
like the hair even if it’s sort of
chaotic so it has to look chaotic get
organized at the same time which is a
tough balance I think to make it’s a lot
easier to draw
you know nicely brushed and quaffed hair
that has the same uniform design
and Jim P animation said when he saw me
doing the earlier version of this on the
iske broadcast he was amazed that I
wasn’t just sampling colors from the
photo yeah it’s it’s it’s not necessary
the more experience you get painting you
get better at choosing colors
intuitively and it just becomes a
response to the photo reference rather
than being a slave to it and I think
your paintings become more interesting
as a result doing them
selecting your own colors and creating
your own colors making your own color
decisions and not relying on the photo
because you know the photo here has you
know it’s it looks realistic it’s a
photograph but it’s not necessarily the
best way to come up with colors if I
were to copy those color for color I
think the painting would be just a
little it would definitely have a
different feeling I wouldn’t necessarily
say it would be worse it would just be
different and it wouldn’t be
representative of what I like to do and
what I like to see in a work of art I
like to see atmosphere color harmonies
and and a color sense and variations in
color temperature I think that’s way
more interesting than seeing perfectly
photographic colors
as a result my paintings won’t be always
you know they might have a feeling that
just always well I wouldn’t say they’re
different from a photo but I like to
think that my paintings will have a
consistency in regards to my portfolio
of like looking at them all together
there’s gonna be a certain court Jones
you know look regarding the colors I
could the way I resolve formers the way
I indicate forms and plane changes and
highlights so it’s uh yeah it’s
something I work at and I’ve worked out
a lot okay I think I think I lost the
stream briefly here but it’s back
sorry I just got a weird a notification
that my OBS software was stalled or
something I think I’m back
okay cool thanks for sticking with me
guys sorry about these technical things
I don’t know if it’s happening out on my
end or you know the internet service
being overloaded or or my computer’s
just crapping out I don’t know
okay
Jim asks if I can turn on and off the
sketch layer you want to see if you have
any pencil lines left that will show
through oh yeah sure
see the line art you see that’s off its
back on off and back on so yeah
definitely there’s some places in the
face where you can still see it and and
that’ll happen in places I’m not too
worried about that or anything
so because it is a true invisible line
art layer I mean there’s no white in it
because I just drew on a transparent
layer so I don’t need to worry about
later on combining those layers and
having the white come back of that layer
that can be a problem sometimes if you
do line art on a background layer that
has a white opaque background to it and
then if you just do something like
change it to multiply it’ll become
transparent but if you later on try to
merge that layer with another layer the
white of that will come back because it
won’t be a multiply layer anymore and
you’ll be in trouble do I ever do
caricatures from memory is that a good
teaching technique yes Stan I do there’s
actually a whole lesson in my proko
course on memory sketching caricatures
where we draw like we sit and look at
the person for just 30 seconds without
drawing then you put the photo reference
away and then start drawing them from
memory and then later on you work your
way down to like 15 seconds and even
just three-second glances at the photo
reference and then drawing from just
that quick glance and it’s a really good
technique for helping develop your
visual memory because I think the best
way to draw caricatures are from memory
meaning you know you look at the photo
reference or the person in front of you
but you don’t look at them too much if
you look at them too much you’re tempted
to draw them more portrait II and the
less you look the more you draw from
your impression of what or what you
think they should look like the more
caricature II I think it’s going to be
pocket broken says I find it difficult
to paint over my line drawings it seems
like my line art is what gives life and
form and structure to the piece yeah I
mean that’s you know that’s something
you might be able to overcome after a
while or if you want to just you know
work that into your final technique you
know leaving that line art in there that
can be a cool looking style as well
you can even highlight it you can go
over the lines and make them darker and
could have a realistic painted you know
illustration that has bold outlines to
there are some people that use that too
a great effect like even the Norman
Rockwell’s paintings if you look up
close on them there is a subtle painted
outline around a lot of the shapes that
you when you stand back you don’t really
notice them until you get up on top of
them and you see oh yeah that entire arm
is or hand or face is completely
outlined in the dark color but he does
it did it so subtly and like a warm
brownish purple color that he just you
don’t notice it cuz it blends into the
rest of the face so that’s that’s
alright that happens but if you want to
get past that yeah just um you gotta
just boldly go forward with your paint
and just cover up those lines if it
bothers you
and get some few real light highlights
in this hair here to that brush size
down pretty small
I don’t want to overdo it with these
little hair details but any just a
little bit more in here I think to give
it the illusion of a hair and I’m doing
that with real narrow pencil thin type
strokes but yeah if you overdo it or do
it in too many places it’s going to make
the hair just look too distracting too
busy
okay let’s zoom out here Audrey it’s
looking pretty good from a distance
don’t need to do a whole lot more right
now I think maybe let’s go out and work
on his clothing a little bit go down the
forms so in these cases like with
clothing and folds they all have rules
to how you know the folds should work
and what I like to do is redraw repaint
any of the darkest darks where the fold
creases are at
because that’s the structure of the
clothing right there’s those where those
folds are
a little more red in that sweater
Jim asks as a beginner how do you know
when you should stop a painting it’s
just a perfect it’s such a personal
question based on your own personal
style kind of I think I mentioned this a
little earlier but about you want to you
know examine the works of people you
really like see how finished their
artwork is is it super rendered and
realistic or is more painterly or simple
and you sort of find out more about
yourself the more that you study other
artists and really ask yourself why you
like them and then when you’re working
on your own piece you can try to achieve
that same level of finish but I find you
know just as a real simple short
practical answer for that is just every
now and just step back leave the room
come back and you’ll if you come back to
it and you’re totally happy with it
looking at it from 10 feet away that’s
probably good and then if you want to
get a little closer just to see if
there’s anything you messed up on maybe
you could still tweak a few details I
mean that’s kind of my process that’s
what I use is I will have to leave it
and come back to it and I’ll notice if
anything is jumping out at me as a
problem or something that needs my
attention if it doesn’t need my
attention I need to go back on it
sometimes I’ll actually take a
photograph of it right maybe I think
it’s finished and I look at the photo on
the computer like oh man there’s a
really dark patch of dark value over
there that’s not blended in I need to go
back and paint on that again so
sometimes it takes the distance of being
on the computer screen you know you know
if it’s like safe it’s an oil painting
that I had made or something I you know
I can print it out if it’s a digital
painting and really stand back and look
at it and if there’s anything that bugs
you that feels unfinished or unresolved
that’s when you can that’s when you’ll
see those types of things I don’t have
time to say this when you decide to end
the stream thank you oh yeah yeah you’re
welcome thanks for sticking with me too
with all the difficulties I’ve been
having well the one difficulty where it
crashed hopefully that’s a one-time
thing
so there is sort of a distinct weave
pattern to this shirt he’s wearing so I
might try to replicate that with some
loose brushwork here
broken brushes rub broke broken
brushstrokes slightly different values
and color temperatures in different
places and then from a distance it
should help we have that illusion of
texture of the fabric
yeah so it is oh we know what it’s about
it’s almost 743 here so yeah it’s about
an hour and a half total I didn’t want
to go too long because I know these kind
of demos can get sort of boring huh no
longer you sit and wait for them to
finish so but I will be back with this I
will paint more on this I may finish see
more here on my own and next week maybe
I’ll work on Audrey but I’ll make an
announcement on Facebook and on my
Instagram if you don’t follow me on
Facebook its court Jones studio on
Facebook and at court Jones artist on
Instagram so watch there for more
announcements about what I’m going to do
any future live streams and it looks
like you don’t have any other questions
for now so again I want to thank
everyone for joining me and watching
through the whole thing here and hope
you enjoyed it and got something out of
it and our staying safe staying at home
and working on your own art that I’ll
see you very soon thanks guys

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rick moranis i love this job [vid_tags] #Digitally #Painting #Caricature #Seymour