Tuesday, December 14, 2010

Webisode 2: Painting the Eye

In This Webisode, I demonstrate painting the eye in oil paint. Please post any questions you have in the comment section or email them to me directly. In another week or so, I will try to answer some of the questions here on the blog.

I will be taking a small break for the holidays, but I will be back with Webisode 3 in January.

Thanks everyone!


  1. Scott, beautiful job demonstrating and teaching these techniques!

    Is amazing how clear you can put it!
    I'll think some questions!

  2. Absolutely amazing! Thank you for posting this.
    Questions: Are you just using turp for your medium? Will you share your choice of color palette?
    Again, thank you for sharing.

  3. Thanks for posting! Your work is wonderful!

    I second Kim Kincaid's request for info on the colors you're using. Whenever I try to paint all the colors in one pass like this, I end up with mud.

    Thanks again!

  4. Its great that you are doing this. I was wondering if thick and thin paint application is explored ever using the window shade method, or is it simply not necessary. All the best.


  5. Thanks for the comments everyone, I really appreciate it. Great questions too. I'll answer later in the week with others I may receive.

  6. Bravo! Good grief you make it look so simple.Do you always do the shadows later? And are your brushes mostly that small for a portrait?

  7. Great Scott! I loved this webisode. I found that video to be extremely well made. Of course, I am always astounded at your ability to make something so difficult look easy. Looking forward to the next one.

  8. Totally, totally amazing. An education in under 6 minutes! I am blown away. Thank you so much Scott!

  9. Hi Scott,
    I woke up this morning to begin work on a painting of my own and decided I'd check your blog for updates. Talk about inspration the kept me at the easel all day long! Although, you and the video are amazing I'm having a difficult time understanding without a background on your materials. Ex. How do you prepare your linen support for painting? What typer of medium/solvent are you mixing into your paint in order to keep the paint viable over an extended amount of time? Also, it would be a real treat to get a understanding of what your paint surface is like. Finally, what are those amazing little brushes you are using for delicate work and mixing. I'd apologize for the long comment but the fact is: This is only the beginning of thoughts that have popped into my mind as a consequence of your mastery. Your time and consideration with these remarks would be more than appreciated. Heck, I need to back you a pie or something along the lines of that.

  10. Lordy! That's amazing Scott. Are you blending your strokes as you go, or softening once a section is worked out? It looks like you are consciously trying to maintain a very smooth surface. What's your thought process on this. Thank you sir for sharing this!

  11. Scott I really commend what you are doing and admire your high level of skill, however (and I mean no offense here) you are making a fundamental instructional mistake, you are telling us what you are doing eg "turning the form" but you are not telling us how you do it. the most important part of any instruction is the How! that is, how do you turn the form, what colours are you mixing and what do you do to that colour mix that turns the form. I hope you dont take offense scott i love your blog and following it but 90% of art instructional videos make this same mistake, they show what is happening on the canvas but do show what is happening on the pallet to make what happens on the canvas happen. all the best.

  12. @Andrew, he does mention he looks at the chroma, value, and color shifts on each form. It is implied that these are the elements that turn a form. Hope this helps.

  13. @David, sure David he does but once again that is 'what' he is doing, but for the instruction to be really helpful to a student we need the next step that is 'how' you transfer those evaluations into a physical paint mix, which pigments and how much of each pigment does he use to physically manifest the CHV changes that he sees. but this is just my own opinion and im sure there are plenty of other equally valid opinions out there

  14. Andrew, knowledge of materials plays only a minor role. The importance lies in the knowledge of the various elements of our visual perception, i.e. the interaction of light and form, understanding form and structure and so on. Knowing what kind of paint Scott is mixing is not a very important element until you understand the principles that underlie the various optical phenomena. Or at least that's how I see it.

    Thank you Scott for showing us a little insight into your working process, very much appreciated!

  15. I see your point Andrew, but this video seems to be geared towards individuals with a particular level of painting experience. As an instructor at an academy, I know that certain principles of painting are assumed to be understood by the student before certain lessons are given. Holding a brush, understanding properties of form and shape, etc., which are usually covered earlier on in a program. I agree that are not enough videos that cover these basic but very important concepts, but is virtually impossible to cover all elements in a single video (especially a 5 minute one). For color, I would recommend to you Betty Edwards book on color theory and Jack Faragaso's book on painting. Best of luck.

    Also, Scott,lets see some sweet tutorials on planning narrative works (especially on your whale series)

  16. this is amazing!!

    if you could talk a bit about your color palette that'll be extremely helpful.

    thank you thank you thank you so much!

  17. Hey Scott,

    Awesome Webisode!!, very informative.

    For the readers, heres my guess at Scott's palette.

    1. Titanium or possibly Cremnitz White, or a mixture of both.
    2. Cadmium Yellow Light or pale
    3. Yellow Ochre Pale
    4. At first I thought this was some sort of Naples Yellow, but it appears to be a basic Caucasian flesh tone. There are several on the market or you can just mix your own. William Whitaker uses a color similar to this on his palette. If it is Naples Yellow then I need to adjust the color on my monitor.
    5.Cadmium Orange, at least that's what it appears to be on my monitor.
    6. A warm pink mixture, Can be mixed several different ways. example, Mix Cad. Red Light, Raw Sienna and White. Very little Raw Sienna is needed.
    7. Alizarin Crimson Permanent
    8. Burnt Sienna, possibly PR101
    9. Raw Umber
    10. Ivory Black

    It looks like he adds blues and greens as needed.

    For lowering the chroma of the the flesh tones, Im fairly confident hes using Raw Umber, and if needed Ivory Black. Possibly at times a mixture of both.

    Hue, Value, and Chroma example:

    First pick a Hue, Lets say Cadmium Orange.

    Next lighten it with white till you reach the proper value.

    Next add a tiny amount of Raw Umber to lower the chroma, but not enough to change the value.

    This is your base flesh tone.

    There still so much more that can be said about this, but that's my short explanation.

    Scott's palette seems fairly simple to me, really the only two colors in question are the ones that appear to be mixtures.

    Im guessing his medium is just Linseed Oil. I would like to know what brushes hes using though.

  18. @Jason peck, thanks Jason that is very helpful,cheers

  19. These are really helpful videos, keep them coming! I know someone already asked but I too want to know what your palette is...

  20. I too find these invaluable. Perhaps you could do one just on materials, palette etc. I know we should use what we are confortable with, and that palettes etc are partly a personal choice, but it would be nice to know.
    Keep up with the fantastic work!

  21. Hi Scott what a wonderful work but i have a request what is the type of colours you use and the name of the brand you used please dont escape from the question