Zorn Palette course: 3 - Blocking-in

Zorn Palette course: 3 - Blocking-in
In this third video of this course, Peter takes you through the first "painting" stage of this Zorn portrait: the block in. How to mix colours accurately and in which order to apply them.
You can find more of Peter's work and tutorial videos on his website peterkeegan.com
Learn with Peter LIVE either in-person or via Zoom - peterkeegan.com/learn
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[@coopart1]

These lessons are wonderfully informative. Thank you !

[@FelixSamulevich]

i like dynamic of explanation int right time in right place .

[@coviedogs]

I really enjoyed your zorn palette videos!

[@geraldclough1099]

I must say you seem to me the most rational instructor I've encountered. I think it's that, as soon as you begin, you are moving away from abstraction and moving steadily, step by step, to literally build an image. I think this lends me confidence that simply by progressing in your rational way, I can, without being tempted to rush, make continual progress through each stage. It is hugely important to me that the image is always emerging more and more. And I can not only understand what's happening, but I believe I understand how to do it. It is such a deliberate process that it seems to progress in a way that would be mysterious, if it was not so plain. It seems to me to be the perfect approach for anyone who imagines that they can't something that looks like their subject. But because what someone looks like is all tone and value, it can hardly fail. And the Zorn palette seems a perfect vehicle for it. You have to think hard about creating the desired color and aren't tempted to pull up a ready color that only seems to be it. Thank you.

[@peterkeeganartist3135]

Thank you so much Gerald, I’m so pleased you enjoyed these videos. New videos coming on my channel very soon!

[@zornitzapetrova7339]

@@peterkeeganartist3135 really looking foreward to

[@lilyunderthesun]

so thanks for making this great video please make more

[@cristinabrum1680]

Very, very good! Thanks for your sharing (and sorry my English) your explanation is excellent: short and precise!

[@heyihan9071]

Superb work. Great practical demonstration and I am loving the confidence of your brushwork married with the tonal work. You are the first instructor I have seen comment on organising colour & tone on the palette. Excellent work. Thank you.

[@nek114]

Thanks a lot for the video and detailed explanation. From Russia with ❤

[@beverleydrew8069]

Wonderful descriptive video, full of really helpful instruction. Could the nose be at a better angle? Maybe it would help the 3D of the portrait.

[@CuquiLopezCasas]

Thank you. Very helpful!

[@v12dot]

Simply perfect Peter 👌🏻🏴󠁧󠁢󠁳󠁣󠁴󠁿

[@peterkeeganartist3135]

Thank you very much Stewart

[@christosgh5140]

The great tutorial continues!

[@peterkeeganartist3135]

Thank you

[@ثُريّات]

Wow. For real, this is charming

[@peterkeeganartist3135]

Thank you

[@maxkoch3232]

Great tutorial! The only question i have is, i have always heard to wait with the accents like the darkest value Till the end. But you start with them in the Block in. Is there a reason to it and why dont you put them in later?

[@peterkeeganartist3135]

I do sometimes need to restate the darkest values again at the end of the painting. It often depends how invasive the middle values have been applied but I managed to keep them in check in this particular portrait.

[@sofya4555]

So helpful 😢❤❤❤❤thanks alot 💕

[@RobertJonesWightpaint]

Others have made the point that Zorn would have used a lead white - and I think that does work better than the relative chill of Titanium with this palette, and is better generally than T. White for painting flesh. BUT - it's not easy to find lead white, and when you do, it's now very expensive; plus, people are nervous about toxicity. So I understand why you're not using it in a demo for people who want to learn and could be scared off by lead paint. I don't use your approach - eg, I don't use solvent, and I avoid Titanium White in my few portraits. Nonetheless, all that proves is that there are many different ways to undertake an oil painting; and your videos on this subject have been very informative and helpful.

[@giancarlozavattinart9898]

Are you really so fast brush stroking and mixing colours, or is it speeded up? I'm so impressed!!!

[@peterkeeganartist3135]

Thank you - I am quite a fast painter!

[@arslongavitabrevis9032]

Beautiful ! Thanks for video Peter. It looks like a technique from John Singer Sargent

[@peterkeeganartist3135]

Many thanks! Yes, similar in its painterly approach.

[@louisewoodhouse3112]

excellent again!

[@peterkeeganartist3135]

Many thanks.

[@GnaReffotsirk]

Amazing! Thank you.

[@peterkeeganartist3135]

Thank you

[@deborahmclean8941]

Portrait Artist of the Year? Have to done this?

[@patriciozazzini3182]

great artist, but I would have added a different sweater to my composition, something that adds something to stand out from a dull picture.