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.
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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.
And uh as you see I uh play around with
various u of course various tones but
also various hues of the color. You can
see that towards the the edge I am a
little bit more greenish. I use more
cold um cold colors than um in the
center where I will become a little bit
more pinkish, more rosy as in the nose
that you see here. Um and uh of course
when I will blend these uh these various
colors around I will have a very nice
very interesting visually rich uh
surface and skin skin tones that will be
much more convincing than just using one
kind of and one kind of color and
various tones but one kind of color and
just that in this way uh things become
Now you see that I want to do some
blending in the ways formato is done. So
with an almost dry brush I will very
carefully very delicately move the color
around a little bit. You see that I wipe
my brush uh uh on a piece of cloth to to
clean it and have it almost dry whenever
I place it on the pigment. And uh this
way I I'm able to remove very finely the
color around and create this very smooth
smokey like effect very much like in the
in a very delicate very uh subtle way.
In uh when painting in oils, we tend to
forget that uh
oil painting requires a lot of time and
a lot of our attention. We we are used
to believe that things happen
automatically and they happen you know
very masterfully.
Of course, the old masters were able to
to to proceed with painting very quickly
in some areas, but there are many areas
where uh the the area requires our
attention and our full uh concentration
to what we do and it really can take
some uh uh some time to do this. So
don't be in a hurry. We somehow when we
paint in oils we we think we have to
paint in a hurry and to produce things
very quickly but things take their time
and this is how it should be.
So here, as you see, I've done a first
layer on the face of this man, and I
haven't placed the highlights yet. Just
haven't um painted an area that will
accept the highlights and the more
interesting parts of what's going to
follow. Of course, I've given much
attention and work on this blending on
on blending the various tones and the
various colors on the face.
You see how just a little dot in the
eyes as a reflection adds a lot to uh to
the life of the face. And uh moving on,
you can see how uh by how I I do the
same process when I want to add the
highlights. I place the color and uh
very carefully and uh um very carefully
I will try to blend it where it needs to
be blended. Now the underneath layer is
completely dry.
What you see here is after four or five
days after the first layer. This gave me
time to paint to work a little bit on
the beard uh the mustache and the mouth
of this month of this excuse me man. And
uh uh now I am doing this uh application
of the color and just moving it around
with my brush. It's such a different uh
process than painting with tempera where
blending happens upon layers by painting
layer upon another layer. Here when we
paint oils
it's a matter of moving the color around
along with
the various layers if we use any. Here
as I say this is the second layer and um
I will keep adding and blending uh as it
goes. Uh I try to um to make it visually
interesting and convincing as much as I can.
can.
You can find more lessons on oil
painting on my Patreon page. And let me
just thank you so much for your support
here and there as well. It's u for me
it's really really important and uh it
allows me to be full-time in my studio
and explore painting so much more. So
really thank you so much. Hopefully my
lessons there will be um helpful to you
and you can find always something to to
benefit no matter if you paint with oils
or tempera or acrylics.
So here I'm
doing a little bit more on the eyes. I
want things to be more convincing. When
I'm painting, I'm asking questions like
I don't ask if the eye is beautiful or
if I painted the eye correctly. But more
than that, I ask questions like, is this
tone the correct tone? Meaning, is it
too dark? Is it too bright? Uh is the
blending how softly it should be? Um is
this shape correct? The drawing correct?
I'm I'm asking this kind of questions uh
as I'm painting and this is very very
important and much more practical and
useful for the painter rather than
asking questions
like oh is this beautiful is this ugly um
um
and then you know the the circle of
doubt begins in our minds I don't know
how to paint
no just know your materials know your
know your craft as much as you can and
uh keep asking useful questions as you
paint. Then you have to also rely on
your eyes and uh be more confident. I
really see so many students that uh are
really afraid to take initiative to really
really
see themselves what they are painting
and correct it themselves. they just
always feel locked to to be creative
somehow. So in painting
in this kind of painting we should
proceed with both cautious and create a
creative spirit and uh really
not not don't don't not to doubt too
much about what we do. Yes, doubt.
A teacher of mine was saying that doubt
poisons everything but doesn't kill
anything. And that's true. Um we have to
really uh hope that uh we can become
better. There's always space for
improvement even for teachers even you
know the arts there's no end in what you
can learn and create uh if you are an artist.
So anyway, this was a brief mention on
this study of mine uh using an AI reference
reference
to study the skin tones. Hopefully this
was interesting for you to to to watch.
Uh as I say, you can find more on my
Patreon page. And um I really want to
thank you so much for your comments and
It's really I often feel humbled by uh
by receiving your artworks and uh uh
being able to uh to know that my videos
can be of some help to you. So really
thank you so much. So anyway, thank you
again. I will see you soon with another
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