Draw James Hetfield Portrait: Extended Shading Tutorial

You will see the dry brush painting technique in a slower version of this video- http://www.youtube.com/watch?v=5kAAErTo1SU

WE NEED A VISUAL ARTS CATEGORY ON YOUTUBE THREAD-http://www.google.com/support/forum/p/youtube/thread?tid=2a9806f929074cbd­&hl=en&fid=2a9806f929074cbd0004b630ad37cc3e

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(Merrill) Supplies I Use- http://www.jdoqocy.com/click-4....247664-805536?url=ht


- Watercolor Paper
- Bristle Brushes
- Black Oil Paint
- Mineral Spirits
- Kneaded Eraser

All music by Kevin MacLeod http://incompetech.com Thank you Kevin!


0:25 Right now I am blocking in all of the black shapes. I am NOT doing "dry brush" right now. My brush is quite wet. You can call this a "wash" of black. It is to speed the process up a bit. 0:43 Notice that I will use SEVERAL different brushes on this portrait. I try to use the larger brushes whenever possible so that I could block in SHAPES not LINES! Using bigger brushes accurately is a skill which is built over time.

Even though lines BARELY EXIST on the human body, people seem more comfortable working with a fine point.

If you want to be good at drybrush, break that habit (get used to rendering shapes NOT lines).
1:08 I am still using too much mineral spirits at this point. You want your brush to be relatively dry. DUH! Dry brush?

1:08 The watercolor paper is like QUICK SAND! It will separate the paint from the mineral spirits and the binder instantaneously and leave a charcoal like residue on the surface. Eventually, we will erase part of this residue to create the highlights.
1:28 Squint your eyes (if you have to) at the reference image (easy to find online) to see the tones. It is important that you see the tones in the composition as separate shapes (almost like a puzzle) The brush gives you A LOT MORE CONTROL of the tones than a pencil.
1:28 Brushes are also SUPERIOR at creating variation in the edges of shapes (hard edge, soft edge). 1:51 Do NOT be tempted to draw in the whites of James' eyes. They do not exist in this image. "Draw what you SEE, rather than what you KNOW to be true" - Betty Edwards 2:06 The moustache is quite complicated.....but then again...isn't EVERY moustache!

Its really just an extension of nostril hair! Don't you think?

ANYHOO- Paint the "stache" in more dark than it really is, and we will use the eraser later to soften it and create highlights.

The darkest part of the stache connects with the top lip. 2:31- Dont stress the ear too much. You can scratch it away with the dry brush or do a wash with the paint and mineral spirits (which is cheating I suppose if your going to call it "dry brush") EHH....There is no CHEATING in art. Use the "kitchen sink" if you have to! 3:02- You will notice that the paint does not SPREAD in drybrush. It SINKS

If Oil paint "floats" like a boat on canvas.....It "sinks" like an anchor on watercolor paper.

Be as accurate as possible and use this to your advantage. Get the "puzzle pieces" (the shapes formed by the tones) that you are sure of in first.
3:34 Background is darker on the right. Notice that this is the OPPOSITE of the tones on his face. You will need to use some mineral spirits for the background.3:58 James has very difficult eyebrows to paint. They are long and white like Pai Mei from Kill Bill.....Well maybe not that long.

The skin tone will be a bit darker than parts of the eyebrow (he is greying). Notice the darker parts of the eye socket around the bridge of the nose. This area will be dark but not quite as dark as the shirt. 4:26 It took me about 2 hours to paint this. Take your time! If you have a low frustration tolerance, know that there are always CREATIVE ways to fix things

For instance, if you think you went too dark, use the kneaded eraser. If you struggle with the paint brush, finish your work with color pencil