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Or soft, velvety hands?\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePLUS: William Schneider’s “Charcoal Positioning” technique…\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e…\u003cem\u003eand so much more knowledge gems that’ll \u003cu\u003einstantly\u003c\/u\u003e improve your technique!\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMeet Your Instructor, William Schneider!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWilliam A. Schneider’s work has evolved since he finished his studies at the American Academy of Art. He credits the many hours he spent studying and copying masterworks by Nicolai Fechin with loosening up his brushwork and approach to edges.\u003c\/p\u003e\n\u003cp\u003eWilliam has won awards up to and including “Best of Show” in most of the national juried representational exhibitions. 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This gives him the opportunity to discuss the foundation of his approach to a greater extent while applying tiles of color in a thick, gestural, alla prima (wet into wet) method of painting, blending on the face just enough to give it a \"painterly\" appearance while, at the same time, maintaining the \"loose\" and abstract look for which he is so well known.\u003c\/p\u003e\n\u003cp\u003eBy his description, he uses an \"uncontrolled palette\" that he describes as an \"opened range of colors that include warms \u0026amp; cools of all primaries with supplemental colors added for the purpose of painting speed.\" He applies these colors using a wide selection of brushes and palette knives, while looking, analyzing, and then taking the appropriate action to:\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eget an accurate drawing,\u003c\/li\u003e\n\u003cli\u003elay in abstract color,\u003c\/li\u003e\n\u003cli\u003ecreate and maintain spatial relationships of lights, darks and middle values,\u003c\/li\u003e\n\u003cli\u003ethen to finesse the edges to make his \"finished\" statement.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJeff spends extra time discussing the importance and order of developing edges, values and shapes first, then adding color to \"bring the painting to life\", all for the purpose of explaining the general concepts of making a painting look 3-dimensional on a 2-dimensional surface, as he feels that these important concepts are either seldom taught or poorly communicated.\u003c\/p\u003e\n\u003cem\u003eHis intention is for the painting to have a \"loose,\" un-rendered look by using a variety of methods and tools, including palette knives. 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The painting actually looked more alive than the model, and that is no disrespect to the model. The painting actually had a living quality about it with the rich, vibrant colors, along with the full value range from white to black on the canvas. You will have to watch the video to see this for yourself, but I know you will agree with me that the painting has a power well beyond the model, and that power comes from the artist who created it.\u003c\/p\u003e\n\u003cp\u003eIf you strive to achieve an impressionist, expressionistic look to your own work, you can't find a better artist to demonstrate how this is accomplished. As an artist myself, I have been on the lookout many years for a contemporary painter who had solved the mystery of Nicholai Fechin's technique, and I found that artist in Jeffrey Watts. 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Even though he said after his first marathon video of 10 hours that he would never do another, he reconsidered and believes that this program addresses a completely different approach to painting that he wanted to share with you. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHis first video was devoted to showing the viewer how he paints a gallery-bound painting--something the workshop student would never have a chance to see. He painted it over a period of six days and we edited it to 10 hours. It was a marathon effort and a priceless demonstration for serious students of the art form.  \u003cbr\u003e  \u003cbr\u003eMorgan realizes that the student in a workshop situation doesn't have the same amount of time with the model that he did with that first video, Homework. So he wanted to share with you two different approaches to painting the head that do work for the short format situation that workshops usually offer.  \u003cbr\u003e  \u003cbr\u003eThe first of his three demonstrations is based on the concept of Painting the Head from the Outside In, a traditional approach which starts with a charcoal drawing and proceeds with a quick lay-in of the masses and finishes with detail and corrections. This approach yielded a fantastic portrait likeness of the model, John Simon, as you will see.  \u003cbr\u003e  \u003cbr\u003eThe second demonstration is a less-used and understood concept which he describes as Painting the Head from the Inside Out. Rather than starting with a drawing, he begins with one feature on the face and finishes it as he moves steadily outward from that point, making every decision based on the preceding correct decisions. The painting reveals itself much like a sculptor reveals his creation from a block of stone. This is his favorite way to work, and he creates a powerful portrait and likeness of the model, Julio Pro.  \u003cbr\u003e  \u003cbr\u003eThe third program on this video is a fantastic documentary of a workshop that Morgan taught in the past few years, where his critiques and corrections of students were filmed and captured for your benefit. Three and a half hours are included in this portion and it is tantamount of being able to audit his workshop as we follow him with the eye of the camera.  \u003cbr\u003e  \u003cbr\u003eAll the concepts that he teaches in his first video, as well as the first two demonstrations on this title, are brought to the workshop classroom, and you see him employ every one of them on the actual paintings that are started by the students and improved and corrected by Morgan. There are 23 critique\/demos included in this portion of the program, and every level of student is represented in the workshop, from novice to professional. 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Just imagine the joy this would bring to others and to you as an artist. 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Waterhouse. Waterhouse's \"Ophelia\" represents Shakespeare's tragic heroine from \"Hamlet\", a popular subject in the 1800's.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Johnnie Liliedahl","offers":[{"title":"Default Title","offer_id":9583011594284,"sku":"CD-18","price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0057\/8161\/8732\/products\/CD18_OpheliaCDSlim-page-001.jpg?v=1650655033"},{"product_id":"johnnie-liliedahl-alexandra","title":"Johnnie Liliedahl: Alexandra","description":"\u003cp\u003e BEGINNER LEVEL\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eStudy the methods of the Old Masters with Johnnie Liliedahl. Learn the Bistre underpainting techniques, color glazes and scumbles, and how to create porcelain flesh tones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe one (1) project contained on this CD, when viewed or printed, is an exact reproduction of the original, printed version. The user has complete control of the viewing process and may choose to print any or all of the included documentation, as desired. \u003c\/p\u003e\n\u003cstrong\u003eThe CD contains the following information for viewing and\/or printing the project:\u003c\/strong\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e30 pages of instructions\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e37 Full-Color images of the painting in progress\u003c\/strong\u003e; Color Swatch Reference Guides (displayed in color on user's computer monitor for easy reference.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLine Drawings\u003c\/strong\u003e included for the user to print and enlarge to the painting size of their choice.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eProjects included are those shown on the CD Front and Back covers shown above. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Johnnie Liliedahl","offers":[{"title":"Default Title","offer_id":9583011823660,"sku":"CD-22","price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0057\/8161\/8732\/products\/CD22_AlexandraCDSlim-Copy-page-001-Copy.jpg?v=1650654863"},{"product_id":"johnnie-liliedahl-old-world-maidens-vol-1","title":"Johnnie Liliedahl: Old World Maidens Vol. 1","description":"\u003cp\u003e\u003cstrong\u003eBEGINNER LEVEL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe three (3) projects contained on this CD, when viewed or printed, are exact reproductions of the original, printed versions. The user has complete control of the viewing process and may choose to print any or all of the included documentation, as desired. Printing images in color requires the user to have a color printer.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe CD contains the following information for viewing and\/or printing for each of the projects:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003e57 pages of instructions\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e29 Full-Color images; Color Swatch Reference Guides \u003c\/strong\u003e(displayed in color on user's computer monitor for easy reference; requires a color printer to print in color)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLine Drawings\u003c\/strong\u003e included for the user to print and enlarge to the painting size of their choice.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003c!-- split --\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Johnnie Liliedahl","offers":[{"title":"Default Title","offer_id":9583014707244,"sku":"CD-25","price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0057\/8161\/8732\/products\/CD25OldWorldMaidens-VolISlim-page-001.jpg?v=1650655026"},{"product_id":"johnnie-liliedahl-old-world-maidens-vol-2","title":"Johnnie Liliedahl: Old World Maidens Vol. 2","description":"\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eBEGINNER LEVEL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe six (6) projects contained on this CD, when viewed or printed, are exact reproductions of the original, printed versions. The user has complete control of the viewing process and may choose to print any or all of the included documentation, as desired. Printing images in color requires the user to have a color printer.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003c!-- split --\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe CD contains the following information for viewing and\/or printing for each of the projects:\u003c\/strong\u003e\u003cbr\u003e- \u003cstrong\u003e81 pages of instructions\u003c\/strong\u003e\u003cbr\u003e- \u003cstrong\u003e32 Full-Color images; Color Swatch Reference Guides \u003c\/strong\u003e(displayed in color on user's computer monitor for easy reference; requires a color printer to print in color)\u003cbr\u003e- \u003cstrong\u003eLine Drawings\u003c\/strong\u003e included for the user to print and enlarge to the painting size of their choice.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cspan style=\"font-weight: bold;\"\u003ePROJECTS INCLUDED:\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFarmer's Daughter\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eSIZE:\u003c\/span\u003e 12\" x 16\"\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eTECHNIQUE: \u003c\/span\u003eUnderpainting Glazes, Overpainting Techniques.\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eCONTENTS: \u003c\/span\u003e13 Pages, 3 Color Images, Color Swatches, Cartoon Line Drawing.\u003cbr\u003eThe lowly peasant was elevated to a noble subject by the painters of the 18th Century. They were represented by the French masters Millais, Millet, LePage, and LaThangue as the salt of the earth. Their paintings were admired and have stood the test of time by continuing to speak of the modern aesthetic. This painting is executed in the style and composition of those painters, attempting to show the solidity of the earthy women used to hard work, and that they can be beautiful without being prettified.\u003cbr\u003e \u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eThe Goose Girl\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eSIZE:\u003c\/span\u003e 22\" x 28\"\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eTECHNIQUE: \u003c\/span\u003eModified Grisaille, Opaque Overpainting.\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eCONTENTS: \u003c\/span\u003e21 Pages, 5 Color Images, Color Swatches, Cartoon Line Drawing.\u003cbr\u003eThis painting is executed in the manner of the French artist Jules Bastien-LePage, who influenced a whole generation of his contemporaries. He painted in the overcast light of daylight when there was no strong sunlight effect. His light was cool and constant, unlike that of the cast-shadow, bright, sunny day. The results of such a setting were the wonderful tonal paintings produced by LePage and his followers.\u003cbr\u003eEach mass within the painting is rather flat, exhibiting no light\/dark extremes of value. The vertical forms of the distant hedge and trees become a dark shape showing few highlights. The ground melts in one large, amorphous mass, appearing as a light plane against which all the vertical forms contract.\u003cbr\u003eSince the light is cool, there is little aerial perspective which could indicate distance. The absence of direct, warm, bright sunlight eliminates the warmest colors and drastic contrast, which would be available on a sunny day.\u003cbr\u003e \u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eA Walk in the Park\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eSIZE:\u003c\/span\u003e 16\" x 20\"\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eTECHNIQUE:\u003c\/span\u003e Transparent Underpainting, Glazing.\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eCONTENTS: \u003c\/span\u003e17 Pages, 4 Color Images, Color Swatches, Cartoon Line Drawing.\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eNOTE: \u003c\/span\u003eEasy project for beginners.\u003cbr\u003eThis painting was inspired by those of the impressionists who painted their contemporaries in Paris strolling through parks, such as the one presented here.\u003cbr\u003eThe ladies wore their Sunday finery and strolled to see and be seen. 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Brown: Painting Classic Portraits","description":"\u003cp\u003e\u003c!-- split --\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWith this exclusive video training, you will learn:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe \"secret\" skin tone formula and how Ryan discovered it by accident — it happens to be the same formula classical masters used centuries ago, but had been forgotten over time\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eHow to get your viewers to project their own emotions onto a painting, instead of feeling the model's emotions (and why this is critical to creating a great piece of work)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eWhy creating a portrait is like building a house (and how to make sure you have a sturdy foundation that stands the test of time)\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eThe three different stages of creating your drawing — and exactly why you need to follow each one in order if you want to create a beautiful finished product\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThere is nothing that compares to the joy artists feel when they've painted a beautiful portrait of someone special. Just imagine painting an incredible portrait of such high quality that you don't hesitate for one moment to show it off, either giving it as a treasured gift or selling it for top dollar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor many painters, portraits are off-limits — they can be too difficult and require a lot of time, only for the artist to be unhappy with the results. Capturing lifelike features, flesh tones, and expressions can be frustrating, and difficult to correct along the way.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThere is now a way to learn portrait painting that is easier than ever and will take the mystery out of this beautiful art form. You will want to discover these secrets for yourself right away — and now you can.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eStreamline Publishing is proud to release \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ePAINTING CLASSIC PORTRAITS \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ewith award-winning master artist Ryan S. Brown. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRyan is best known for his arresting portraits that capture the attention of anyone passing by.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHis style and technique are unmatched.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFrom how he prepares his canvas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eand mixes his paints\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eand develops his painting over several sessions\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003epushing it forward bit by bit until it's finally complete.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBut what makes Ryan rise above the rest is not just his technique\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eit's his entire approach to portraits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\"Be always ready to make slight notes of postures, groups, and incidents. Store up in the mind ... a continuous stream of observations from which to make selections later.\" — John Singer Sargent\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eYou see, the way he approaches portraits is one that few artists speak about, but it's something that can change your portrait skills overnight — whether you're brand new to portraits or you've been painting them for years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBut what does that mean?\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWell, according to Ryan, a portrait begins long before you ever meet your model.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIt begins the second you decide you're going to paint a portrait.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\"I do a lot of different works, but the purpose behind it is the distinguishing factor.\" — Ryan S. Brown\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eInstead, Ryan believes in starting from\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e a concept\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e that guides every single brushstroke you make.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis concept is the emotion you want to evoke\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ethe feeling the painting creates\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ethe impact it has on the viewer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOnce this is decided, you use composition, values, and colors to make the concept come to life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnd today, you've got an incredible opportunity to learn from the master himself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn this masterful 13-hour video, Ryan walks you through his exact process for painting arresting portraits that convey an energy, feeling, and liveliness that seem to jump off the canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLet's take a closer look at what you'll learn in this video:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cul\u003e\n\u003cli\u003eWhy, even though your drawing is one of the most important parts of your painting, you want to free yourself from its constraints when you begin painting — it's counterintuitive, but critical to your portrait\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eHow the skin tone of your model is like the musical notes in a symphony — and why the beauty of your portrait depends on finding the perfect notes in the right moments\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eThe simple yet fascinating tool Ryan uses to identify mistakes when he knows something is off but can't quite figure out what\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eWhy you should always grade different parts of the face with different colors, even though it's all a single skin tone in real life (and what happens if you don't)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eHow the molecular differences between different types of paint affect your final painting (this one thing explains the challenges so many amateur painters face)\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eWhy Ryan sometimes takes over 300 photos of a model before even beginning his drawing\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eHow your peripheral vision can help you perfect the values across your painting\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eThe common traps that cause you to 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