This content details an oil painting process where the artist uses an AI-generated image as a reference for a human portrait, focusing on the technical aspects of oil painting, particularly skin tones, and reflecting on the role of AI in art.
Mind Map
คลิกเพื่อขยาย
คลิกเพื่อสำรวจ Mind Map แบบอินเตอร์แอคทีฟฉบับเต็ม
Hi, my name is Antonius and I'm the
painter in this video. Today you will
see me painting this study on uh
painting human skin with oils as my
medium. And uh for this I'm using a
reference uh uh that was created uh for
me by AI after a prompt uh I gave to it
to paint me the image of a bearded man
that uh should be painted in the style
of the barack painters like Caravajio
etc. So the AI gave me this as an image
uh and uh it's really it was really
interesting to see how this
dehumanization let's say of painting uh
was used by me here to create uh this
image that is more human and more warm
let's say than that that was originally
painted by AI. I this is a very very
huge topic but uh I don't want to dive
into this right now how AI will affect
uh the arts in general it's really huge
let me just briefly say that I really
don't believe that uh painting and
painters have anything to fear uh about
AI people will always search for images for
for
for uh paintings and works of art that
are genuinely create created by human
hands. There will always be collectors,
people, commissioners who will want
something like this. So I it's something
AI it's something that really doesn't uh
uh worry me at all in terms of uh of the
arts. Anyway, this as I say is a huge
huge topic. But uh here I want to talk a
little bit more on how I approached this.
this.
You can watch this and I perceive this
as if I did a study on a work of the old
masters. Uh AI gave me a very
interesting face in terms of the use of
in terms of the skin tones and all of
this. So uh it really intrigued me to
see how I can transform and change the
the image by AI into uh an alive work of art.
art.
So I'm using oils as my medium and I
have transferred the the drawing on on a
panel [clears throat]
and uh as I always do uh on my oil
painting I start by first painting the
the shadows the facial features
on uh on the board. Here I've covered
the whole board with a reddish brown
reddish base color. upon which I've
painted the the dark facial features and
the areas of the shadows and then slowly
I want to uh to paint the areas where
the these shadows meet with the the
light. So carefully I want to try and
define these shapes and uh I want to
make sure that uh this transition will
be interesting and uh nice. So the
the
the colors I I am using as I said are
oils and at this point on the first at
the first stages of painting I only use
tarpentine oil as a thinner. I don't add
any more any extra linen oil in my
pigments. And I'm just placing the
color. I'm not doing any any blending
here, any serious blending here. Just
placing the color. I want to u make sure
that uh the the colors look correct,
look nicely. And um slowly I want to to
define these uh um the area the areas
the um the brush that I'm using is uh a
relatively soft brush. And uh when as
what I always say to my students is that
as we paint, we have to really uh ask
ourselves if the brush uh does the work
that we want it to to do. We really have
to ask ourselves if it moves the color
around in a nice way as we want it as
they want the color to be to be moved
and if the brush doesn't obey let's say
in our commands we should ask ourselves
what kind of brush would would do the
job that we want to do. Maybe we need a
more u a more thick a more hard brush,
especially when we paint with oils. And
it's also relative to what we want to
paint uh with the oils. If you want a
more harsh, more abrupt brush stroke,
then a harder brush can do uh the job.
If we want to to move tiny amounts of uh
of pigment around then a more soft more
um like Kolinsky brush then this would
be more appropriate.
Here I'm using
a relatively soft brush. I apply the
color as you see. I want to to find the
shapes of the light. This is what I'm
doing here. And let me just say that the
red underground that underpainting that
you see is not um oil. This is acrylic
painting. So it's completely dry. And uh
it allows me to place the color upon it
without smearing the color and creating
a mud.
So after first having painted this uh
zone in between light and shadow, then I
place a more uh lighter
color in um in the areas that receive
more light. I just place the color at
this point. I don't again do any serious blending.
