Oil Portrait of Esme - Part II

This is the second part of a two-part video demonstration of the entire process of painting a portrait of my daughter, Esme', in oils. 

In this part, as in Part 1, I'm trying to keep my palette in view of the camera as much as possible while painting. Once I get to the grass in the foreground, I even experimented a bit with propping the palette on my easel next to the painting, which worked, but not perfectly. As you may know from previous posts, I am experimenting with using a second camera to film my palette so that it can be viewed in a picture-in-picture window along with the painting itself. So watch for that in upcoming videos. 

For the work on the figure, I'm painting with a number 2 and number 4 filbert, and a number 1 and number 4 round...all synthetic Gray Matters brushes from Jack Richeson. When I transition to the grass, I'm using mostly flats, a number 2 and a number 4. I like flats for work like grass because the brush can produce a range of stroke shapes...thin lines when turned on its edge, broad, flat strokes, and by varying the pressure, lovely leaf/blade of grass shaped strokes. I tried to stay loose in the grass and let the brush create the shapes of the leaves in as few strokes as possible. 

As always, please leave your questions and feedback in the comments section. Enjoy the video, and happy painting!

Music Credits:

'Claire de Lune' by Claude Debussy

'A Hand in the Dark' by Underbelly and Ty Mayer

'Gymnopedies 1, 2, & 3' by Erik Satie

'Nocturne in E Flat Major Op. 9 no.2' by Frederic Chopin

'Thinking About It' by Jeremy Korpas

'Cello Suite no. 1' by J.S. Bach

'7 Preludes, Op. 103 Prelude No. 3' by Anton Diabelli

'Largo from Concerto No. 5' J.S. Bach