Painting Carmy in the style of J.C. Leyendecker | Step by…

Watch me create a modern-day Capriccio (mash-up) portrait of Carmy from the amazing TV show The Bear in the style and world …

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there’s a genre in art called caprico pardon my pronunciation this is where painters made up impossible architectural fantasies like placing St Paul’s Cathedral of London but on the canals of Venice for example by the late 18th century the term had expanded to mean any image with an equivalent degree of fantasy and that included human figures now if any of you guys know my client and personal work you’ll know that I get asked to paint these kind of whimsical scenes often I love to merge modern figures with old and splice up genres and styles in a playful narrative driven way and today I’ll show you how I do it in this step-by-step tutorial painting car me from the amazing bear TV show but placed in the world of painter JC Lan deer why you may ask there’s no rules in art so why the hell not we’ll talk more about this unlikely pairing later on but for now let’s get to work so for today’s video we’re going to be using art r V which is the latest iteration of art rage and it’s often overlooked in a world of Photoshop and procreate but it’s just don’t sleep on it it’s a cracking program which can be got on iPad on tablets and on desktop like I’m using today on the surface Studio 2 it’s a robust program which although has a simple and slightly dated interface don’t let that put you off it’s a cracking tool and I use it for 90% of my work which you can see on my website um you can recreate the flow of paint the textures the just the feeling of painting realistically It’s amazing And you if you come from a background of Fine Art it’s definitely worth a look so we’re just going to get our file set up here and our canvas and so you go to file new painting and it gives you options to change the size of your canvas that you’re going to be working on now I want to work on quite a large scale today so I’m doing 4,000 by 4,000 pixels as you can see and then you got the options on Art Rage of changing your paper texture and that affects how the paint is laid down so I’m going for a paper cuz laying Decker off sometimes painted on canvas but sometimes painted on paper as well and I want it to be reasonably rough not too rough that it kind of comes through and makes it kind of overbearing but enough so we’re going to have a little look I’ve set my paper I’ve changed my roughness and I’m having a little play with the oil paint here just to see how the paper shines through the brush strokes and as you can see here with art rage the way the paint molds together and blends it’s uh it’s beautiful use to use it’s buttery smooth and as you can see you can load up the brush a little bit more now I wouldn’t recommend loading up too much and we’ll talk more on this later on because it starts kind of getting a little bit synthetic and a little bit digital but you know once you’ve got the texture on the on the canvas you can use the pallet knife and then push it down which you know is not often found on many programs and i’ I found I use this more than most because there’s things are amazing things you can do on procreate and on Photoshop and all these other amazing programs and tools but I still keep coming back to Art [Music] rage so I’m trying to find a little brush stroke kind of loading of the paint for later on that I like I don’t want it too heavy I want it to have a little bit of kind of fade as I go as I pull the brush across the canvas I want it to kind of almost and run out and we’re all set up and ready to start [Music] sketching okay so now we’ve got our canvas sorted we can move on to sketching so on the left hand side you’ve got your tools palette I suppose your wheel of all your tools and as you can see there’s lots and lots to choose from from the stock ones that come with with art rage and there’s hatching and textures and all sorts of fun things that you can mess about with which do come in handy for various projects but for the initial sketch I’m going to be using uh one of my imported brushes the DB brushes which unfortunately I don’t think you can get for art rage anymore they come on Affinity clip paint Studio Photoshop and art um and procreate sorry but I don’t think they’re made for art rage anymore which is a shame because are very very nice but the stock pencil is more than adequate for you to use so don’t be put off by that so choose your pencil on the left hand side as you can see I had a little little Doodle and I’m getting my canvas in the right position for me to draw on and now we’re going to bring in our reference images so on the right hand side you’ll see the refs Tab and you select load image and as you can see I’ve loaded up a wonderful painting by JC lay deer I from a coffee advert of his he was a a fantastic artist and we’ll do a little bit more art history kind of corner on him in a little while um on the speed painting time lapse bit but as you can see what I’ll do is I’ll get the reference up and because I’m working on a square canvas I’ll try and kind of put it roughly next to it so I can see in line where I need to be drawing and it helps me just kind of guide uh shape and form I suppose and getting the sizing right so now I’ve just edited the playback so so we can see see the canas you can see it in a little bit more detail rather than all the interface around it and I’m just going to start sketching really Loosely in the shape the form just trying to get the sizing right uh the positioning on the canvas and using very very loose kind of pencil Strokes if you will and I’m not one for kind of you know using shapes and odd Oblongs and circles and things like that to find it I’m more of a kind of ey it in as I go and sketch over a line and keep sketching over a line until I kind of get it right I’ve always just being able to kind of copy things quite closely so that’s the way I work but work whichever way works for you is best if you really need to kind of block it in using large shapes you go for it um or if you just want to draw it straight off the bat go for it as well so as you can see lay deck really like kind of these strong forms and almost angular which he then painted with angular brush Strokes which you’ll see later on and it was just gives this wonderful kind of fresh modern effect so I’m getting the shape in and I’m going to move on to the uh the stove here and yeah just feeling my way around making sure it’s all right as you can see I kind of overdraw a line and then go back over it again and that’s just the way it always works and it looks a little bit messy at this stage and I don’t really mind that because I’m going to be painting over it very shortly so we’re going to get the sign in at the back I you’ll have to excuse a bit of a noise at the back someone’s just started uh a motorbike up I think so there we go we’ve got our sketch all drawn in and it looks happy I’m just Tiding up a a few little bits but again keep it rough keep it Loose um keep it expressive because we’re going to be painting over it very shortly just tidying up a few final bits making sure I’m quite happy with everything and getting some sh shape and structure in there for when I come to [Music] painting so I’m quite happy with that as you can see next to the reference it looks kind of spot on it’s not too far off and it will be perfect and we can move on to the head cuz we’re not going to paint the we’re not going to copy it we like I said with this is a mashup this is going to be using two few different kind of scenarios and timelines and people and we’re going to be painting Jeremy Allen White from the wonderful bear series TV show uh which again I’ll have a little chat on a little bit more but we’re going to draw his head first and then plunk him onto the other sketch now I’m not one for a lot of these modern tech well not modern techniques they’re old techniques really the Lumis technique for drawing heads and all these kind of using uh rectangles and circles and everything because I I feel you lose a little bit of energy you lose a bit of personality and you know if it helps you drawing that’s fantastic no one should stop you but for me they all people who use that all seems to kind of look very similar and like I said I tend to eye in my U my sketches and uh try you know like they’re just overdrawing the nose and then trying to feel the way out and getting the distance I will draw lines and I will draw a circle and I’ll draw a line across from the eye to make sure it’s in line with the ear and all those kind of rules of of sketching but ultimately there is no rules whatever way you want to approach a sketch or drawing go for it you could be using a charcoal or a crayon tool on there and just really roughly finding your way around it or using the Lumis technique or one of these other a little bit more Pro ones I suppose where you get an absolutely spot on every single time you could size up you could draw a frame behind you where you and then overlay it over a reference photo and uh and size it up from there and then you’ll get an absolutely photorealistic picture I’m not fussed with that I wanted it to look like KY from this TV show but not exactly it’s my own interpretation of him so if you’re wondering why I’m not showing the reference of it I was a little bit worried about copyright with it being a new TV series you’ll just have to imagine me looking at my iPad which had a picture of uh the actor um and the character KY on there in the kitchen and he’s looking down and you’ll just have to imagine that I was looking up across my desk and copying it as I go so as you can see I’ve drawn a little line there from his ear across and basically just eye it in from the photo um it doesn’t have to be perfect at this stage because we can always go over things shortly and once the painting starts that’s when you bring uh you know the sketch to life so to speak and you kind of put Flesh on the bones so it’s getting reasonably there now I’m quite happy with it like I said it doesn’t have to be perfect and then comes the interesting part so I touched up a little bit um and then duplicated the layer so it’s a little bit darker now this is where the kind of fun starts um I’ve duplicated it again so we can move it without losing the initial sketch the initial sketch just in case I make a mistake and I’ve hidden the previous sketch underneath it now what a mess now this is where we’re going to place the head of Ki onto the JC Lan deer painting and this takes a little bit of time to kind of get the placement the angle right and the sizing right you don’t want it to look like he’s got a big bulb his head there so as you can see you can go to the transform tool on the right hand side you select it in your layers and you select the head layer and then and select the transform tool and now we’re going to be rotating it and moving it you can scale with perspective um you can warp if you need to but we’re just doing a normal sizing transform here and I’m trying to get it in roughly in line with what L Decker had done before his eyes and nose roughly in the right space obviously they’re different people it’s not going to be perfect it’s not going to be exact but I’m trying to eye it in so he doesn’t look unusual now one thing to note with lay deer’s paintings and drawings he did like big hands those hands are Whoppers um it kind of conveys the strength of the men particularly that he uh he painted and that was one thing I had to kind of be aware that I couldn’t size it up in you know correlation to the hands it’s almost like Michelangelo’s David having that large right hand for his perspective um you know you’ve got to kind of eye it in more on the shoulders and frame of the body rather than the hands so now I’m going to rub out the initial sketch from the lane Decker and so I can see the wood for the trees underneath it and it looks about right it’s not too far off and then we can tidy up the Cari drawing on [Music] top few little tweaks I think uh there we go yeah just lowering it I thought his neck was looking a little bit long and I just wanted him to obviously he’s got more hair than the initial character from the coffee advert but I wanted him to sit within the frame but still not look like he you know had some kind of giraffe neck going on so it’s a subtle little tweaks as we go nothing too extreme tilt here move there and you’ll get used to doing this as you kind of go through this if you’re trying to you know splice two images together you’ll get a feel for getting the sizing right so almost to the point that you don’t have to use the reference drawing underneath you kind of know on the anatomy And if you come from a again A Fine Art background or you’ve painted Anatomy before generally you’ll get it you know we know what a body looks like we know when it looks unusual but sometimes you’ve just got to plunk it on look at it from a distance and see does that look okay or does that look a little bit weird so I’m quite happy with that now and I’m just having a little look at the layers below and just making sure it all lines up and so we’re kind of in size with the initial sketch and it seems good to me we’ll bring up the reference image next to it and I think it looks okay there quite happy with that and we’re about ready for starting painting now what I’m doing here is I’ve merged the layers together so it’s now one pencil form and then we’ll do a little bit of a life hack a little bit of a cheat if you will in a second and I I’ll let you in on a little secret that I use for my paintings I’m just tidying up all the rough edges all the guidelines that we had from the initial sketch and I’m again merging with the layer below and that’s the sketch finished for now and before we can move on to the color now here’s the top tip duplicate your pencil layer and set the top layer you click the little black circle and set the top layer to 50% then on top of the bottom layer create a new clear layer and that is going to be your base paint layer and what this does is it means that you can still see your guidelines on top but you can paint underneath them and so it just helps that you’re not painting on top of your pencil lines and losing your shape and form that you’ve man you know you’ve worked so hard to get to um and I find it really really helps in um keeping those forms and values and shapes and detail um obviously if you’re painting something really loose and expressive paint on top of your pencils go for [Music] it okay so we’re going to be moving on to our blocking in and coloring so you select the paintbrush tool on the left the oil paint and like earlier on in the video we were monkeying around with uh the loading and whether you want thinners on there if you want it to be more washy Etc but we wanted it for this I wanted it to be a little bit drier brush for blocking in the thing is if you put too much loading on you run the risk of muddying the painting um especially when you go to paint on top of things the paint just Blends in Imagine oil paint on a canvas if you load it too thick and then try and add detail later on you’re going to run into issues so we’re keeping a nice dry brush and we are just blocking in really bold colors here as you can see with the orange on undertone for the skin just trying to keep it uh pretty loose and pretty just just getting rid of the white paper really there’s nothing more daunting when you start a painting than just seeing a sea of white so get rid of that trying to find a rough shade not perfect for now obviously his skin tone isn’t that orange but it’s a good base um to start with and it uniforms all the kind of colors across the canvas also Renaissance and Barack painting you know would always always paint uh with orange and reds underneath and the colors that you add on top would then be warmer now you’ll see on the side there is a Color Picker tool and initially I did use a Color Picker just to get the One Tone off the face as a starting point but I will kind of you know give a warning of caution on this because when you use a Color Picker on a photo you might think that you’re going to be getting the exact colors but you’ve got to imagine on that photo reference there’s a millon milon one pixels in there and it’s not necessarily going to be the color that you want so I would ER on the side of caution on that and just start using the color wheel on the right and make it your friend a little bit more and just get used to finding the color and the tones that you know you’re happy with and that you’ll just eye it in really and if you get it wrong don’t worry go back you know reverse it the delete the the last brush stroke and just go again until you find that color because it will always be better just kind of doing it from your own mind rather than trying to color pick also you just don’t want it to be an exact thing you want it to be your representation especially if you’re copying a painting or a photo you don’t want it to look exactly the same cuz what’s the point of doing it otherwise so now we’re just adding a little bit more detail in still with a smaller brush head I like to use um the rounded brush tip you can make it to a square tip if you wanted more angular brush Strokes um I’m I don’t use too wide Strokes on the details and what’s nice with outrage is as you put the color on top you’ll find that it you know if you’ve kept the paint reasonably thick that you can blend as you go you can smooth um and as you can see I’m taking off that top layer of pencil just every now and then just to see what it looks like underneath because we’ve got our little hack going here so we’re painting underneath and obviously you’ve got the paint the BR uh the pencil Strokes sorry on top so sometimes for fine detail it’s best to take off the pencil strokes and just see but for for blocking in colors it works fantastically and it saves you so much [Music] time so we’re zooming in using the two finger pinch on the screen to kind of get a bit more detail and go for our darker tones now and we’ll build up from our dark tones across the whole painting as we [Music] go and what we’ll do now we’ll speed up the video a little bit because otherwise you’ll be sat for hours watching me do all this but um what just to explain what I’ll do is I’ll use all the dark tones and then bring up the highlights and you’ll see it a little while I bring up the pallet knife and that’s just to smooth some of the paint Strokes together to kind of give it a bit more 3D this particular Lane Decker painting some of his works are very very expressive with their brush strokes and he uses these little flexs of uh of light and lines across the painting almost like a kind of vmir with little specks of light and it creates these really interesting shadows and tones you can see on the coffee man’s arm there those Strokes it not only conveys that there might be hairs there on his arm but the kind of the the speckled light as it hit skin and Lane DEA was a bit of an expert at this um so you know I wanted to blend in first to keep it smooth because this particular painting doesn’t have massive amounts of those lines on the face it’s only got a few little strokes so I wanted to make sure it looked like Jeremy Allen White and car me and create his kind of flustered red face there as he’s looking down but I didn’t want to uh um go too overboard on The Strokes on the face and start losing [Music] [Music] detail now being an art historian by trade with a master’s degree in art history to toot my own horn a little bit H it would probably be a little bit remiss of me to not talk a bit about JC lend deer and uh the history behind him because he’s definitely worth checking out he’s one of my favorite artists um I love his style always have done it looks so modern and fresh um and the magazine covers that he did still look and so Poppy and zingy and so cool today um it’s definitely worth a check out so L he was a German American illustrator um and his impact on American culture still lasts to this day um he was born in 1874 in Germany and moved to Chicago with his family when he was 8 years old showed an early talent for drawing and painting and studied at the Chicago Art Institute and the academy Julian in Paris he and his brother Frank became successful freelance artists and working for magazines books and advertising agencies JC Lan Decker is best known for his covers of the Saturday evening post which you may well have seen which he created for over 40 years he painted more than 400 covers of the magazine uh and you might have seen some of them the New Year’s baby the chubby Santa Claus and the arrow col man and the arrow col man was um for an advert for college shirts and it’s a very handsome and stylish male model that he painted and it was the model that he used for those was his Muse and manager Charles Beach and now they lived together in new relle and New York where they hosted lots of lavish parties and for celebrities and artists and the like uh and he was one of the few lay deer was one of the few openly gay artists in the 20th century um and his work often reflected this um by featuring kind of powerful men and obviously his his Muse and partner now if you don’t know JC Lan deer’s work but you feel it looks familiar this may well be because he influenced so many other illustrators and that was mainly the main one being Norman Rockwell who is a huge absolute Titan of Art in America uh and Rockwell considered him his Idol and Mentor JC leer died in 1951 and he his legacy is still long lasting and it’s influencing people you only have to search on YouTube and Twitter to see how popular he is and this was mainly down to Le dea’s painting style which was distinctive and influential um he used a secret medium of oils and turpentine to create a fluid and Lumin brush strokes and you can see that like what I was talking about before he in a lot of his painting he uses these kind of triangular shapes and they’re rough but detailed when you kind of get up close to them and that’s what I wanted to convey in my painting today I didn’t want to use loads of layers and multiplies and shadows I wanted to paint it as if I’m painting on canvas as he would have done but only I’m doing it on a digital screen he did not overpaint his works and he left some areas unfinished or suggested and loose and and it adds a charm um an Intrigue to his images he was inspired by the art newvo movement especially the artists like tus L Trek and alons Muka again artist that I love particularly Muka uh he used a lot of decorative patterns elegant typography um and his style completely captures the 1920s when you think of flapper dresses Art Deco designs playful humor men in smart outfits that kind of bro brok greened hair he captured it better than any other artist I’ve seen anyway and he was a master of illustration and well worth your time I’d love to go and see some of his work you know in person I’ve not never been to an exhibition of it um but if you do you like leay deer or you’re just finding him out for the first time drop a comment underneath and let me know what you think of [Music] him [Music] [Music] now obviously as I said in the introduction this is a caprico painting a Whimsical kind of look at this it’s not an exact copy otherwise Jeremy Allen White would not be in there and i’ have painted the man with the pipe now if you know the story and I’m not going to give away any spoilers from the bear uh if you’ve not seen season 1 or season 2 but it does feature tins of chopped tomatoes which are quite integral to the story um the so I thought I’d change the the tin of coffee to that um so and place uh chopped tomatoes on the spoon which you’ll see in a minute um but yes I wanted it to be playful and I often like to put little Easter eggs into my drawings for football fans or fans of a computer game or whatever the commission might be I put little little suggestions little nods towards story lines or characters um so I thought rather than him just holding coffee let’s have him holding a of tomato so we just changed that up a little bit H I got a good reference of a tomato tin and kind of made my own look and feel for it um as you can see I’m filling in the chopped tomatoes on the spoon there rather than the coffee now in a little while you’ll see I’ll overpaint over the coffee pot because I just felt it didn’t really kind of sit with the narrative and the kind of whimsical new storyline I’m trying to give to the the painting yes it’s a homage to laying Decker of course but we want to kind of create a new little story now with Ki being there and what would be a reflection of his character so rather than have the coffee pot as is a kind of stout American maybe looking brwn looking uh coffee pot I changed it to a little Italian one H in a second which you’ll see me kind of painting Loosely kind of Al Prima Style on top because just didn’t feel it fit uh and wasn’t Italian enough really for it so for all the detailed elements that you see me putting in like the zigzags on the waist coat and the flowers on the apron and I’ve kept the brush loading exactly the same I was going to make it dryer but I found that I wanted the paint to kind of mold together um and have that little roughness that we just spoke about and so for putting in all these little dots and details and on the paper on there I felt just keep the brush the same keep it all immediate um almost painting like I said in an Alo Prima style um I wanted to try and mimic lay Decker’s look as closely as possible almost painting it in as I go using our sketch below to kind of guide us but as you can see by this stage I’m not using the pencil overlay I’m just eyeing it in from the photo okay so our painting is coming to a conclusion really here um I’ve gone over all the dark areas and I’ve kind of highlighted the bits that needed making a little bit more zingy um and as you can see I went round and surrounded the frame there using the control button uh to get a straight line and now we’re just going to slow the video down a little bit and I’ll explain how I did the lettering so I’m just painting in the little pin in the paper there again not putting in massive amounts of detail just kind of Loosely eyeing it in and then I’ll move it across in a minute cuz I felt it wasn’t quite Central on there like the lay DEA example but yeah I’m really happy with the way things have gone the details looking really nice we just need to do the lettering now so what I did was um I created using Affinity designer but you could use Photoshop or illustrator or something like that I did the lettering um I’m not great at lettering when I’m painting sometimes that looks great on a painting to kind of keep it really loose and look like it’s been hand painted other times it looks terrible and I know my limitations um so what I wanted it I wanted it to look neat like it’s been handwritten but still you know not like it’s just been typed on there so I wrote I found a good font and I wrote let it rip Mikey on there and placed it on a new layer and you go put go to import uh image to new layer on the file side file import new layer image s a new layer and then you can go down you select the layer and create stencil from it and this is a great little tool and artrage that you can do and then you clear the layer and then you’ve got a stencil to paint into so I could zoom in a little bit get the color of ink that kind of matched what lay decka used and I didn’t want to just block it solidly in there I wanted to leave a few edges rough as if it had been kind of used a Mikey’s used a marker pen to fill it in there like a kind of a quick note that he’s left up there for for KI the let it rip so as you can see it’s filling it in it’s keeping it neat and tidy and within the parameters of the stencil but not so neat that it looks like it’s just a PNG file or uh you know an image of text just been stuck on top superimposed which would have kind of taken away from the realism of it and uh and there it is you get rid you can uh you go over to the stencils on the side and you can hide it and it will still keep it in position and like I said you can bring it back if you need to touch up things and it’s worth experimenting with all the tools in artrage it really is a great program and again I use lots of programs for my work for different bits but my main stay the main one that I’ll pretty much 99% start with is Art rage and if I need some kind of sparkly flourishes or certain lighting or effects I might bring my painting into procreate or photoshop or Affinity photo or something like that but mainly for painting the one that feels realistic to me is artrage and I will be making more videos in depth on full processes going into the nitty-gritty of things on Art rage V the new one cuz there is new stuff on there um and doing some a little bit more in-depth tutorials where it’s not as time lapsed it’s a bit more uh filmed real time and I’ll talk you through as I’m going but obviously this was a bit of a bigger painting and you couldn’t sit for through hours of me just waffling on like I am now which would be no good for anyone I’ll be doing other reviews of other art programs and seeing how they compare too and lots more kind of stuff coming in the pipeline but I just wanted to do something fun that I’m interested in um if you’ve not seen the bear TV series I heartly recommend it uh just as a little shout out um if you love food family kind of Dramas definitely check out um it’s on Hulu and FX I think but you should be able to find it um and it really is a kind of melting pot of pressure and stress and characters and love and relationships and between all the characters set in this Chicago restaurant where Ki comes back to as a fine dining Chef to come back to kind of run after the death of his brother it’s uh it’s beautiful in terms of like the character development their relationships and it’s probably the best dialogue you’ll see in any TV series it’s superb the interplay between them all is amazing and I think that’s maybe why I wanted to do this kind of mashup today because I feel that leay and DEA conveys the human spirit in a playful and fun way and doesn’t take himself too seriously and that is much like the bear it’s um it’s so on point and real talking about humans and and looking at their relationships and how we have failings and how we can improve and how we need each other and I think leay and DEA kind of has that heart in him so although it’s completely Bonkers putting the two together um it just popped into my head I thought it was fun and I thought why the hell not let’s just do it so I hope you’ve enjoyed the tutorial today as I just finish up on their sizing up and making sure the edges are all squared off and tidy if you’ve got any questions please do put them in the the comments below and I will get back to you and do all the uh YouTube Shenanigans like subscribe ding that notification Bell because there will be more coming and I really want to grow this Channel and do more videos and with your support I can hopefully do that so thanks for watching and uh I’ll hopefully uh see you on the next [Music] one [Music]

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