 Hey guys, we're just getting set up here. We're going to give everybody a minute like hearing myself on an echo. Good morning. Hey Carol, we are here to do some more work on faces. One of the more challenging things to do in mixed media. I'm upside down on Periscope, so I don't know. They can't keep up with the iOS updates, I guess. I don't know. I'm right in the camera view, but I'm viewing you guys on the iPad and it's upside down. So I turned the magazine around, so let me know if this is right side up for you or not before we get started. When I'm doing the drawing and painting, it's going to have to be upside down because I'm not that good an artist to do a face upside down. This is right side up or upside down. Hey Vicki, Chicks1990, MZGoldie, hello everybody. Perfect. Okay, so when I'm doing the drawing, it's going to be this way. Sorry. But when I'm showing you guys some of this work, we'll turn it this way so that it's the correct way. Now, if you haven't seen my YouTube challenge series yet with the admins from a few different Facebook groups where we use this magazine as inspiration to do some faces, then go look it up. It's a Fabulous Faces team challenge on YouTube. If you are trying to learn to do faces, then I recommend this magazine as a good reference tool because it goes over a lot of different ways to do faces, drawing them, painting them. It's got some really great tutorial articles in it and from a lot of different people all in one place, including Jane Davenport, Dina Wakeley. There's realistic faces. There's faces on a watercoloury background. There's all different kinds of things. So definitely if you can pick a copy of this up or order it, this is from Cloth Paper Scissors. And it's a fabulous reference tool that I even have in my library. And I've got random things stuffed in here and I don't know why they're in there, but we'll remember later. Okay, great. And the link to this broadcast is now posted to all the Facebook groups. So anybody who's now joining, hello, welcome. Sandy, hello. I'm taking my time getting started this morning because I want everybody to catch up. But I do recommend this magazine for a good reference tool for learning how to create a face on your journal pages. This is a fabulous tool, this magazine from Cloth Paper Scissors. I know they have it on Amazon. I think it's a little cheaper if you go to Cloth Paper Scissors and order it from them. We'll discuss this one in a minute. So I'm going to put that aside. Okay, so the next thing we're going to talk about is this one. And this is one that I did in watercolor. This is a more realistic, abstract, expressive face. I'm not going to show you a lot about how to do this today because that's not fair to the person who I learned this from. This is a direct lesson out of this book by Gene Haynes called Color and Light in Watercolor. Again, if you really want to learn to do a watercolor face like this one and learn a lot about color and light in watercolor and how to express lightness and brightness and warmth with the colors and shadow and coolness with, again, the colors. Gene Haynes has got a fabulous series of books out and she has a face lesson in the back of the book called The Laird. And she takes you through step by step how to do this face. And by the time you get to this lesson in the back of the book, although I will readily admit to you, even though I'm familiar with watercolors, I was a little nervous about starting the lesson. But by the time you get back here, you're more than ready to tackle this lesson. So definitely I would recommend to get this book. I think she has a DVD too, to be honest, and you might look on Amazon and I may even have it. I can't keep anything straight, but I may even have the DVD now that I think about it. But definitely get the book. This is my first attempt from that lesson and it's all matted and packaged to sell. And then I did that and I don't think I can sell it. So it's not even listed anywhere. I love the way it turned out, but I did this a few months ago and it's a fabulous lesson. So definitely I would recommend getting her book. I'm going to get you to the point today where you feel more comfortable about tackling a lesson like this. We're going to sort of go this direction. I did this face at the end of the last faces lesson that we did. And she's gotten such response that you all wanted to learn how to do more sort of abstract expressive faces. So we're going to do that. There's no, as you can see, traditional flesh tone colors in her at all. And when I... Oh, there goes my iPad. The picture's flipping around by itself. Well, hello Periscope. I'm not even touching anything. When I most usually do faces, I usually don't use flesh tones. I do have some here on my palette that are dried up. I can reconstitute easily, but we probably won't use them. So I'm going to show you how to do something more like this. And this is headed in the direction of the Gene Haynes face. So if you get comfortable with doing this, you'll definitely be ready to do her face. And again, go get her book. I recommend it. The first thing we're going to do is some drawing. I know we haven't done that yet. And this is just a sketchbook I have. I've done a few faces in. There's one. And this is watercolor and ink over acrylic. There's another one. Watercolor and Sumi ink again over acrylic. Oops. I forgot. I don't know where I'm sitting on. There we go. Here's another one. This is watercolor and ink over again over acrylic. Oh, I forgot that was in there. Oh, see. And I just wipe my acrylic paint on here. And then I am ready to do like faces or something. But we're going to do a drawing. I'm going to flip forward. Strathmore drawing pad. Nothing fancy. And I'm just going to show you on here some basics of drawing a face before we get started because you really want to know. Spraying my watercolors because I haven't done that yet. Oops. So you really want to know about proportion. And let's zoom in a little bit. Let's see. Hello. How are you? Okay. I am no face expert by any stretch. But I'll show you what I know. So most of the time when you're drawing a face, you want to start with some sort of an egg shape. My girls always tend to have some sort of a round, rounder head rather than long and skinny. Just light sketchy lines. This is just a number two pencil. If you plan on watercoloring over this and you're not going to really be okay with the pencil lines, then do this in a water soluble pencil so that when you paint over it, it disappears. Hey, Carol. Now, before we put anything else on here, you're going to draw a line straight down the middle. Start out with front facing faces. They're the easiest. Now I'm going to adjust my bottom down here, which is going to be her chin to match up with the line. Okay. And then about the middle, you want to do a line across. Halfway between here and here. Okay. And then another line halfway between here and here. Now I'm going to go ahead and put a neck in. If you give your girls more of a long slender neck, and we'll just do girls because, you know, they're easier, to be honest. I'm more familiar with drawing girls. Okay. So then you want to do an upside down smiley face for the eyes. And you want to have the eyes be like an eye width apart. So you want a curved line and then another curved line. And in between you want to have about the width of another curved line, something like that. Then down here, this is going to be the bottom of the nose. So do another curved line, but going the other way. And then I put in my nostrils. And then here, I'm going to have this be the middle of the lips. So I'm going to put a curved line that matches the shape of the nose. Another one up above it. My girls always tend to have full lips. I try to curl up the edges on the upper lip a little bit. Otherwise, my girls always look sort of somber and frowny faced. I don't know why that is. I just tend to, if I don't think about it, they all come out somber and frowny faced. Something like that. And we're going to come back up here to the eyes. I'm going to put the iris in, which is the colored part of the eye. If you think of your eyeball as a round circle, and here's the iris. Here's the pupil. This is the upper lid. The eyeball is behind here, and it starts to go back into the socket here. So there would be a crease. I know we haven't even started painting yet and we're just drawing, but this is important. Even if you're going to do an abstract expressive face, you want to know where your proportions are going to be. Because if you're going to suggest them, you need to know where to suggest them and have it look realistic. Hello, Lisa. So then do the other eye. They don't have to match exactly. You know, in reality, your eyes don't match. One is bigger than the other. Have you ever done that experiment in school where you take your face and you split it? You're welcome, and you split it in half and then you flip it and duplicate it and stick the two halves together. You get two different looking people. And we're doing this in pencil first so that you can adjust your lines to be something more like what you want. And if you get a face that you like before you paint it, I always recommend that you... If you do any painting and you are at a stage where you really like the way it looks, and you know you need to move forward but you're happy with the way it looks right now, stop and scan it or take a picture and then keep going. And that way you have saved that. I've done that with some backgrounds and I still use some of those backgrounds. In fact, one of them is on the back of my telephone. So now I'm going to put the eyebrows in. And you all know if you've seen my faces, I usually put in the suggestion of one side of the nose bridge. I almost always do. There's like a shadow here at the base of the nose. You can just really kind of get crazy with it. Some of these lines you want to stop and you want to suggest them with your paint and not really with the pencil marks. Sometimes after you're doing the drawing, you decide, you know, I want to change the shape of her face a little bit. Maybe make her cheeks, give her fuller cheeks. I usually end up giving them fuller cheeks. And then when you get your features, I'm trying not to erase too hard because my whole table will shake. When you get the features in a place where you're happy with them, start erasing some of those guidelines. Yes, it will be on YouTube later. And if you are a student in my Udemy watercolor course, I will probably end up adding this to the faces section. It's going to take me forever to get it to download because Udemy, if anybody knows anything about Udemy is not fast. But I'll probably just set it when I go to sleep and let it do its thing. But I will get it in there because this is going to end up being a good drawing tutorial for you guys. Okay, and you're going to get something like that at some point that you're happy with. And like I said, when you get a basic face that you like, make sure you stop and scan it before you do anything else with it. You know, you want to, the hair is just as important as the face. I have a couple of hairstyles. I tend to always give my girls. But usually, you know, you guys have seen me draw faces, something like this. They always end up with big hair and big lips. Now, if you do her in pencil and watercolor paper and you decide to leave the lines, the lines can be, the lines can help you be suggestive and expressive in your face. But there you go. You definitely want to practice and just keep playing with it and playing with your lines and playing with different shapes of faces and eyes and lips. And decide what you like and what's going to end up being your style and work on developing a style that's uniquely you because that's really important. So there's a basic face. Now, of course, you could draw, you could paint over this. This is just drawing paper. So we're not going to watercolor on this because it won't hold up well to the watercolor paint. But definitely for those of you that are starting out, I would recommend work on your drawing first and then move forward to the painting. But now we're going to have some fun with paint. And now that you kind of know where everything is going to be or should be to suggest a realistic face, let's do some fun stuff more in this expressive style. And when you're learning and especially when you're learning with paint, painting half a face is easier than painting a full face because you don't have to worry about that. You don't get caught up in balancing out the eyes. So now let's get started. You notice I still have last week's painting on here. Gotta get it off. So practice your drawing. Just a plain old number two pencil works. You don't need anything fancy. And let's do one first with a water soluble pencil. I tend to always have this one out. I'm not sure why I have got a whole set of intense pencils and loads of watercolor pencils baked earth, which is a reddish brown. I have no idea why it's the pencil that's out. And let's actually let's pick it. Let's pick a fun color. So you want to think of your colors as warm colors and cool colors. So, you know, the easy ones that suggest sunlight would be like a yellow. This is cadmium yellow. Yeah, cadmium yellow. So that looks really warm and reminds you of the sun, right? And then this one is mallard green. And it looks a lot cooler and colder than the yellow one. And so this is a good shadow color and this is a good highlight color. For just the basic drawing, we are going to pick something light, not too dark and medium, not too cool or too warm. I like the intense pencils. These pencils are some of my favorite water soluble pencils. Intense and the Prima watercolor pencils are my favorites. I'm right handed, so I'm going to tilt my paper just a little bit. Again, we're going to work on our sketch. Now, because I'm really familiar with doing the face, I'm not going to draw the whole oval. I'm not going to draw my lines because that's not... I don't really do that anymore. You could, but then this water soluble pencil is not going to erase very well. So what I would recommend if you need to draw your oval and you need all those guidelines, do it in a number two pencil. Then outline the lines you want to keep with the water soluble and erase the number two. This one is not going to erase very well, but the number two should still erase really well. So I'm going to start with my eye. When I don't put my guidelines on, I usually always start with the eye welcome. I'm going to put in the iris, the colored part of the eye. I'm using a light sketchy line with my intense pencil. I'm not digging any holes to China here. All right, we're going to put in the pupil and the eyelid. There is a link in the posting on Facebook, but I think it's embedded now that I think about it. Jeremy, you can, you can send them to my class page on my website, geniebyarons.com. So we've got our eye. So now I'm going to put in the bridge of my nose. You can do a straight line. You can give it a slight curve. Remember, we're doing an expressive face. So we wanted to be resembling of a realistic face or at least the proportions of, but we're not drawing the whole face and we're taking some creative license. No problem. So now I'm putting in the bottom of the nose and the nostrils. I'm going to put in the side of the nose. I don't know what that part's called the side of the nose nostril. I don't know. I'm going to put in my lips. I'm always trying to do girls with skinny lips. I never manage that. They always end up with full lips. I don't know. I have no idea why maybe I draw too many Buddhas. Okay, so we got our face. Now you could draw. You could give the face some more guidelines like I did here, or you could leave it open and do it very abstract. Let's let's do this one. I really, I did this in like the last five minutes of the last broadcast. So let's take some more time and really work on this a little bit. So let's give our face some defined edges at least on one side and don't ever do a floating head. That's like an art. No, no. Give it some kind of a base or neck or the suggestion of and your lines don't have to be in the perfect exact right place that you can, you know, this is water soluble. So if they're slightly off, it doesn't matter. They're going to move around while we paint. So now we've got our basic lines on there. So time to start painting. Why is it a no no? Because it looks odd. I suppose if you did it exactly right and it was part of a composition where it really fit and it was appropriate. And it was really abstract. It would be great. But when you're doing something that's suggesting reality, you should all suggest all of reality, including the neck. Some of Jerry, my arts and parts faces are really doodly and abstract. And in that case, she could do probably a floating head and it would be really appropriate. Like Debbie Weir, any of you who know Debbie Weir. But when you're doing something that even suggests of reality, part of the reason that makes this a good interesting composition is the fact that she has a suggestion here of a neck. Oh, and you know what, I forgot eyebrow. See what happens. So now we're going to get started with some paint colors. And let's start with the shadows. And I'm going to choose, I always choose turquoise. Let's try a purple. How about quinoa purple, which is a really great color. And I'm going to put this color into the areas of the face that are farther away from the viewer that would be normally be in shadow and would be darker. I'm going to put a little bit of pigment down. I'm not going to get too far with it before I come back in with my brushful of water. And I'm going to put the water on the side of the paint where I'm okay with it blending and moving and not on the side of the paint where I don't want it to go. So outside here, I don't want the paint to go there, at least not right now. Now the purple is going to mix with the brown a little bit, but that's okay. I can pull this pigment around the pigment I stuck on here already. I don't need to add anymore. Welcome. We've got a bunch of new people joining. You can get in here with a rag or a paper towel and do some lifting. We're not supposed to call it blotting. Again, I don't know why, but it's blotting people. So I'm going to take some of this pigment from right here and I'm going to lay it down on the side of the nose and in the nostrils. Yeah, I call it blotting too. We won't tell the other proper watercolorist out there that I call it blotting, but yeah, I call it blotting. Just grab some more of my purple and make those sections darker that I think need to be darker. Go around the face and look at those parts of the face that you know would be darker than the other parts. And that's where you want to put your cool color. And see how we got this goldish brown here by accident because it blended with the pencil? I love that and it gives it a highlight without me adding more paint in a place where you probably need it. So I love that. She's already interesting. I want the outside of her face to be fairly even. Right now it's a shaky line. So I'll just touch it up a little bit. That's better. Hello. Okay, so that's pretty good. I like that. And it's not too dark of a shadow color, but it's dark enough to push our face into the right direction. I'm going to put a shadow here under the lip. Hey, Mark, I haven't switched from the purple yet. We just have, we have the pencil color and the purple paint. And that's all I'm going to blend out some of the edges of some of the paint. So they're a little bit more blendy. That's a good watercolor word, right? All right, so now we're going to come in with a highlight color. I could use yellow, but then if it blends too much with the purple, it's going to make brown. And a little bit of brown is fine. I don't want too much. I'm good. How are you? Everybody ready for Christmas? I know it's probably a no-no to ask that. I'm going to come in with a really great Daniel Smith color that I love, opera pink. It is a bright, bright, bright pink color. And I'm going to put this blending. I'm going to put this in the areas of our face where we want to have a little bit of a highlight. Oh, sorry, Mark. You know, it's that time of year where, you know, sickness is everywhere. So one thing I don't miss about working retail is having to go get flu shots and have people cough on you and all of that stuff. So now I'm going to just blend out my opera pink a bit. And I only, again, I've only got two colors on there. And already you're starting to be able to see the parts of the face pop out at you as the viewer and other parts recede because of the choices of colors. So let's do the cheekbone. Now part of the charm of the other face is the splatters. And so let's take some Quedocridone purple and a bunch of water. And you can do the same thing with the pink. Don't go crazy with too many colors. Oh, I need more water. All right. So now let's give this a little bit of a dry. Now, when we start adding more colors to it, they may blend with the colors that are already on here a bit because this is watercolor paint, but they're going to blend less if this layer is dry than they will if you don't stop and dry it. I'm not necessarily concerned about drying all these drips out here as much as what's on the face because the face still needs to be worked on. I'm going to come in with some Ultramarine turquoise. Yes, I have tried this with Inktense. You can do this kind of technique with any water soluble material, these kind of abstract suggested faces. So this is Ultramarine turquoise, which is more of a green. Those of you who know me know this color ends up, you know, some kind of turquoise ends up in all my paintings, doesn't it? I just can't help myself. Now some water. Don't go too far before you get the water involved and spread out the pigment. You know, if it spreads too far or you get too much, just get in here with the rag. Know that, you know, with the professional watercolors, they're going to stain. And part of the fun of this process is learning how to suggest the painting that you want while working with the mistakes and letting the paint kind of flow where it may. She's pretty. I agree with you. I like how she's turning out. Either way is fine. I have no patience. That's why you guys see me use the heat gun a lot. When I'm out of town and, you know, doing plain air painting, well, of course, you know, you don't have a plug, so you can't bring a heat tool. And if you're using salt or something like that to absorb some of the paint as it's drying as a technique, then you really need to let it sit by itself and not fuss with it. Let's go in and let's add some of our purple up here. But I have no patience. You know, my mother would be the first to tell you I have never had a lot of patience. I love the way that looks. I do want to give her, you know, darken up some of these edges around the eye. But we need to let this dry a little bit and I want to color in her pupil. But if you do that before these other colors are dry, then the dark, whatever dark color you use for the pupils going to blend into the iris. Thank you. Let's do this, though. And this is just the purple, the quinacridone purple. Yeah, so Mark, really the use of the heat tool is me being impatient. Yeah. My husband can tell you too, I'm the queen of impatience. My middle name is neither Grace nor Patience. And he would laugh and say, yeah, I ain't that to truth. So this is just the quinacridone purple and I'm just blending it into the pencil around her eye to darken up the edges and suggest eyelashes without actually painting eyelashes. Now the other thing that we need to do is darken up the lower lip would be lighter is always lighter and brighter than the upper lips darker. So right now it's too light and the lips need some work. I want to let this dry before I paint the pupil in because I really like the way this is looking except for the people. So let's work on the lips. You don't have to use lots of, you know, crazy colors. You can just pick a couple of colors, a couple of dark cooler colors and one or two light bright warm colors. And that should do you just fine to create a whole face. I need some more purple. Good morning. Now this upper lip is wet because I put some other paint on here. So as I add this darker purple, it's going to blend. Thank you. It's going to blend into the upper lip, but it's not going to blend out too far because that part's dry. And really getting good at your watercolor is all about learning to control it where you can. I do. I know there are some watercolors that don't like to use white, but I have white in my palette. And I do sometimes. I tend to lighten my colors more by adding lots of water to them than I do by adding white to them. But whatever works for you, do that. Try it both ways. I tend to paint with warm and cool colors. And I need to, I tend to paint that way with warm versus cool rather than white or black. This is the turquoise, ultramarine turquoise. These are all Daniel Smith paints. So her upper lip now is too dark. So let's lighten it up a bit. Thank you. Okay, so now we're going to do some work on the lower lip because now the lower lips got some lightness and brightness to it, but it's a little too light and bright. So we want to suggest the lower lip rather than drawing the lower lip by painting around it and pulling that shape out. So I'm going to use just a little bit of the purple and some water, and I'm going to let some of the colors from the upper lip run just a little bit into the lower lip. And if they start to run too much, I'm going to just run my damp brush. Thanks! I try hard these days not to make my girls frowny-faced because when I first started doing faces, especially they all came out frowny-faced. I don't know if it was because I was stressed out about having to do faces. I don't know. So there you go. That lips pretty good. All right, let's darken up that pupil. So I'm going to use Payne's Gray, which is dark blue gray. It's a little more interesting than black. I'm going to add, I got the pig, pretty thick. Thank you, thick pigment out of here on my palette, and I'm going to add just a little bit of water to it, not too much. And just with the tip of my brush, I'm not going to push down too hard. I'm going to darken up her pupil. Now, if you wanted to just color the whole pupil and then later put in a little bit of white paint or some white gel pen for the highlight, you could do that. Otherwise, you can just leave a little bit of the paper white. So I rinsed my brush off and I just got in here with some water. And just like with anything else, I'm going to give the pupil like, you know, a darker tone and then blend it out a bit around the edges to get a lighter tone. Yeah, I like Pains Gray, whether I'm painting in acrylic or watercolor. It's my favorite color. So then I'm going to take a little bit of the Pains Gray, and I'm going to just very lightly touch my brush to her upper eyelid. And I'm going to run some of that on the upper eyelid, and that's going to give her the suggestion of eyelashes. And I'm going to use a little bit of it in her eyebrow and a little bit of it in the nostrils. I do. When we have the upcoming episode where we do the galaxy, and yes, we're going to do a galaxy painting, we will use masking fluid. I'm going to put a little bit of the Pains Gray between her lips to darken the seam there between and a little bit here. So she's really interesting. I like her. And let's see. The only thing I notice is her head is... I tend to make girls with fat heads and skinny necks. So I think we need to like do something right here. I think her... Thank you, Brandy. So the color palette here is Opera Pink, Quedocardone Purple, and Ultramarine Turquoise with a little bit of Inktense pencil in tan. Her neck is a little on the skinny side. Thank you. I just like playing with paint. It helps keep me from being too stressed out. So I'm going to just bring some purple in here and then blend it out. And then while that's wet, I'm going to come in here with a little bit of my pencil. Thanks. That's a compliment. I'm a big fan of Picasso. No, because I'm drawing in wet paint, the pencil is going to just blend a bit, but it's going to give me a little bit of a line. So a little bit of a definition. So I haven't used the sticks yet. They're on my Christmas wish list. I'm hoping for some. I know, you know, the camera is, it's not, on my phone, the picture is fine on Periscope, on sideways, on my iPad. When I download the video to YouTube, it'll be the correct way. I have no idea why it keeps doing that, Periscope. It should be the same way I'm broadcasting and viewing in the phone, but it's not. I don't know. I like the idea of brandy of the watercolor sticks because they're very portable. And I could, as you know, I love colors. I love loads of colors. This is my go-to palette, 52 of them. My travel palette only has like 12. Maybe on the iPad that might be true. I know on the phone it stays stationary and steady. If you Google, if you search for my name, oops, Gina B. Arons, you'll find me on YouTube. If you go to my website, you'll find all the links to all my social media classes, free and paid for, all loads of stuff. There's a gallery page. There's all kinds of stuff, a blog page. So if you go here, thank you. Oh, look at camera. Hey, how did you get that camera to come up? That's cool. So these are really fun faces to create. And as if you've noticed recently, I scanned her and I used her. I've been using her in other artwork. And it's fun at some point to sort of have a collection of these different faces. I love the camera. Look at those, another camera. Love it. Yeah, I love being able to carry lots of colors. And I love my metal watercolor palettes, but I am really interested in, blah, blah, blah, interested in acquiring other travel watercolors that I can carry with me like in stick form. That'd be interesting. I love Monet. And you great take screenshots. All you want. So there's that. And that's one with drawing it first. See if I can pop this off of here and we can do another one without drawing. I don't know what that means. That looks like gobbledygook. Still looks like gobbledygook. All right. So now we're going to do one without drawing. No drawing. You know, I always want to use blues. The paper. Yes, I'm using a fluid. I'm glad you asked Patricia. So my preferred paper is usually for watercolors in block block form, which block form is usually glued together on at least two sides so that when you're painting, the paper doesn't warp. This is a fluid cold press watercolor paper block eight by eight. They make actually a smaller, like four by six font one. It's a mini block that's really great as a travel pad. They're postcard size. So it's a really great travel powder paper to take with you. But I love this brand and these, their paper. It's really affordable and it's nice. Decent paper. You know, yes, arches and the more other expensive brands are great, but fluid is affordable and it's a nice paper too. Yeah. So rather than having to fuss with learning how to structure paint, which now I know how to do, but I don't like doing it. It's a big pain in the butt. Get a block and they're all, it's glued on at least two, sometimes three sides. And there's always a little hole or separation that you can sort of pull the top paper up and stick your palette knife in. And then you just break the seal all the way around and pull the paper off when you're done. All right. Let's start our, I do, I teach online. I teach online at both Crazy Island University and Udemy and then also here on Periscope and on YouTube. Yeah. So I got, I get these blocks at either Hobby Lobby or the last time I wanted to just stock up on them and Dick Blick was having a sale. So I got them from Dick Blick. This is Prussian blue, which is a dark blue green. Again, blue green. You know, I mean the blue green, ocean-y colors. I just love them. All right. So now we're going to try one without drawing. And again, I'm going to start with the eye. Get a tad more paint on my brush. There we go. And the iris, the pupil. You just, you're drawing with your paintbrush. And then I'm going to come down here and put the bottom of the nose and nostrils. I'm barely touching my brush to the paper. Over at Crazy Island University, we have a course that's just on faces. By all three of the teachers that teach over there, we each teach how we do faces. And I do my faces over there in acrylic. And there's also a shading course. There's actually a couple of different face courses over there. So I'd recommend checking. Before I get too far here, I'm going to just come in with some water and I'm going to let this paint blend a little bit in the direction where I don't mind it blending and spreading. And I'm going to give it some place to go by putting the water. I'm going to pull some of the pigment down here with just water. I didn't add any more paint. This is just water. Faces are definitely one of those things when you're doing art journaling and you're really trying to express yourself in your art. Yeah. So go check it out. There's a few different faces courses over there. I have a shading course over there and a painting faces my ways course and there's also the faces course by the three of us. And they're not real expensive. So again, I'm still with the Prussian blue. I'm going to put in my upper eyelid and an eyebrow. I'm going to come in with just water and I'm going to put the water where I'm okay with the pigment spreading. And I'm going to try to keep the areas where I don't want it to go to dry. So instead of, hey, Mary, instead of using masking fluid, which you definitely can do, you just try to keep those areas that you want to stay light and bright, dry, and then the paint won't go there because the paint's going to go in the easier place to go. It's going to follow the water. And I'm just using water. I haven't added any more paint to my face. Just water. Okay. So now let's go back to our Prussian blue. Let's put the lower lip in here. And this time I'm going to do something that's even more expressive and sort of abstract. I'm not going to give her a side of a face or a neck. We're going to just work on the feature. So you definitely could do this. And, you know, looking at her right now, just the way she is, wouldn't she be interesting, interesting a copy of her as a divider, say, in your planner or if you're doing documented life, something like that, or even on another art journal page. She'd be really interesting, just her features. Hello. Welcome. So I'm still, I'm only using Payne's Gray. I am not using anything else. Payne's Gray is a dark, cool color, shadowy color. Thank you, Lisa. Yep. So choose your favorite color and just figure out how to use that color to create a face. Really challenge yourself when you get to a certain point. Challenge yourself to just do a face with one color. I missed the comment about the master class. I only saw part of it. Thank you for all the hearts. I love the hearts. Now I'm going to suggest the lower lid, but I don't think I'm going to paint the whole lower lid. I'm just going to give it a little suggestion here. And I'm going to pull some of the pigment into the corners of the eyes that are not, they're not white. I'm just pulling the pigment around, and I haven't painted the whole line, but I've, right there, look at that. I've suggested a lower lid without painting one. We do need to, although I love the way she looks, we should probably do something about her pupil. I'm really not wanting to add any more colors to her. I'm really just wanting to keep with the paint, the Prussian blue, which I think we're going to do. I don't think I'm going to add any more colors to her. This class will probably be included in my Udemy watercolor course. As part of the course, there's a section in there on faces. And although it's going to take me 20 years in a day to get this course to load, because Udemy is not fast. I am going to include this recording over there. And the nice thing about that is it will be a free download for you guys. So not a free download, but it'll be downloadable over there, and you'll be able to keep a copy. So if you pay for the class, then you'll have this forever and you can download it to your computer. So challenge yourself when you're doing these faces to just pick one color and just figure out how to make. So it'll be on YouTube for free, but of course you can't download it. If you want a downloadable copy, you'll have to go over to Udemy and pay for my watercolor course, because it'll be over there. I will never deny you guys access to stuff on YouTube. But if you would like a copy to keep and just have on your computer to watch whenever you want and not have to go to YouTube, then Udemy has a few of these different episodes downloadable over there in the watercolor course. So we do need to do something about our pupil. So I'm going to take a little bit of my Payne's Gray, and I'm going to mix it with my Prussian Blue so that I have kind of a dark Prussian Blue, because I'm really not wanting to add lots of other colors to her. So basically just going to gray up our Prussian Blue a little bit. Okay, now I just have water. I'm just using the tip of my brush because I want to leave a white spot. You of course could put white afterwards, but it's kind of more fun to challenge yourself to leave some of the paper white, because of course as painters, we want to just put paint everywhere. Thank you, and I'm pulling out some of the paint, this dark kind of grayish Prussian Blue I've made, and just pulling it out to sort of suggest eyelashes. I'm not actually painting eyelashes, there you go. So let's take the same color and put it somewhere else in the composition so it looks balanced, and let's just darken up her nostrils, and let's darken up this seam here just a little bit of the lips, the shadow under the lip just a bit. I missed, I think there was a comment there, and I missed it. I'm going to take some of my Prussian Blue and I'm going to add a bunch of water to it. There we go. Isn't she cool? Now if when you're doing that, and you don't like, of course you don't have to do the splatters, the splatters are fun. You're doing an abstract expressive face. So the splatters are fun, and in my opinion they're part of the composition, but if you want to make sure your splatters don't go in some place, like maybe the eye, I would just take a piece of scratch paper and just lay it over that and then do your splatters and then you can lift it up. Thank you. She again, she would be really great on a planner divider or planner page or another journal page as would any one of these. Do you guys have any questions? So I definitely would recommend practicing this, practice your drawing so that you get your proportions and sort of a realistic place. Thank you, Mark. I do recommend adding these two books to your library faces and then, oops, this Jean Haynes book, this is the one with the face lesson in it, color and light and watercolor. And then this book from cloth paper scissors which is all about faces, adding them to your library. These are Daniel Smith paints which is my, I do have a lot of Windsor Newton but I really like Daniel Smith paints. Not only are they local to the west coast of the United States but I love the colors, the color range that they have. There you go. Now, I think you guys now can, I don't know, maybe you can see your right side up. Thank you. I love painting faces. Part of that's because I think because it's a challenge. And, you know, who doesn't love a good artistic challenge? So go out this week and paint some faces. Yes, Mark. So this is cold press. So this has a little bit of a texture and the Daniel Smith paints granulate a bit anyway and give you some interesting texture in the paint which is something I love about them. I get a little bit more of it because I like to paint on cold press paper. Hot press is completely smooth. So you're going to get a different look in the paint from the cold press. And Fabriano does make a paper that's soft press that's like in between. And I do think they make a rough press actually too now that I think about it. But I prefer cold press. And cold press is fairly easy to find. It's readily available. It's inexpensive. It's on sale all the time. What you're learning and practicing. I do like Fabriano cold press paper that is my preferred brand of paper. And I do usually buy it in giant sheets like 20 by 24 and I do have a whole bunch of them down here by my leg under the table. But try, definitely try the different types of paper. I went to... Okay, my kind of local art supply store it's in Santa Cruz. I'm in San Jose if you know anything about California it's about an hour away roughly in traffic. Over the summer last summer they had a few demos that were really great and one of them was from Fabriano paper. And you got samples of their watercolor paper as part of the demo. And I definitely would recommend either going to a demo like that at your local art supply store or writing to say Fabriano or Strathmore or Fluid if you can find their corporate websites and asking them for paper samples. And they will probably send you different paper samples with different textures and weights. I don't know where mine are. Oh yes, I do too. So when I went, I went to the Fabriano class and I got all these different kind of paper. This is 300 pound 100% cotton watercolor paper and I think it's like cold pressed. It's got a little bit of a texture. 300 pound paper is fabulous. It's super thick. It's almost like chipboard but I can't afford it. It's super expensive. This is 140 pound cold pressed watercolor paper. Again, Fabriano. And this is hot. I think this is hot pressed. Let's see. Okay, so this is hot pressed and I don't know if you can see but it has like no texture. I don't know if you can see on the camera next to the cold pressed paper. It has like no, there's like no texture on this one and there's a little bit on this one. And then this one is rough pressed which has gotten more texture than the cold pressed. And this is the soft pressed which is the medium and you got all these different samples of their paper in the demo that you could try. And this, you know, this is a good selection of paper to just experiment and play with that you could try and go, hmm, you know, I really like this cold pressed paper or I really like the hot pressed. And this, if you got a sample pack like this from Fabriano or Strathmore or somebody then it would be really great because then you could really try and experiment without spending tons of money. Daniel Smith also has their sample cards of their paints. I think it's like 20 bucks for the whole set. Something around $20, $25. You get a little sample blob of all 238 colors. So I would definitely recommend going to DanielSmith.com and getting their sample card of paints and trying them. I would see if Fabriano or Strathmore maybe go to their corporate website and see if they have sample packs of paper. Does one of these have the website on it? Fabriano papers made in Italy. They say www.SavoisFair.com S-A-V-O-I R-F-A-I-R-E.com They all say that. So that must be the corporate website that owns Fabriano. That was a little lecture on paper I didn't intend on giving this morning. Anything else? Yeah, I love the dots are great and I love the dots because and I think I said this last time the dots are fabulous because I know I was working on a project and I was doing a lesson. I think from one of the Gene Haynes books and she uses used cadmium, orange, and indigo which I don't have in my palette but I had pyrrole orange and of course the Pains Gray so I tried to see if they were close to the color she was using and in the Pains Gray situation I added a little bit of Prussian blue to Pains Gray and I got something, they're not exact and having access to the Daniel Smith sample dots you can do something like that with and decide are these colors that I'm lacking in my palette or can I make colors that I already own work in place of them and I would not have any idea how to do that if I didn't have the sample dots so I was glad I had them and of course Quar by Golden has their sample dot cards also they don't have as many sample dot cards as Daniel Smith has but they don't have as many paints either I don't have any idea if Windsor Newton has something like that or not, I've looked and I have not seen that they do so if they do and you guys know anything about that let us all know I will be in the next 24 hours or so I will optimize the view of this and I will make sure it's oriented correctly and it will be up on YouTube like I said and you can search for Gina B. Arons on YouTube there you go so you can search for Gina B. Arons on YouTube or you can google my name I'm going to show up every dang place I live on the internet too long if you go to my website the links for all the social media stuff the classes YouTube, Periscope all that stuff is on the website my blog page everything is here so go there and you should find what you need this class like I said will be something you can download and keep in the Udemy class as soon as I get it edited and up there and if you want to just own a copy if you're like me and you're out on vacation and you like to watch some of these instructional videos but don't have lots of data plan on your phone then it's best to have it on a DVD or something that you can just like plug into a computer alright have a great day everybody don't get too caught up in the Christmas craziness don't forget to stop and have some fun do some painting and I will see you all next week I don't know what we're painting but we do have a list on my Facebook group a life of art and self-expression a pro sort of a suggested program list and you can look there and see what's coming up next if you're not a member of the list just request it not a problem we'll let everybody in and I know galaxies are coming up but I think next week might be point set us something Christmasy I'm not sure I don't remember but anyway I'll be back next week alright I will see you guys later have a great day bye