Create a Realistic Portrait in Procreate | Kathy Glynn | Skillshare

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Create a Realistic Portrait in Procreate

teacher avatar Kathy Glynn, Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (2h 4m)
    • 1. Introduction

      2:05
    • 2. Value and Form: An Overview

      2:41
    • 3. Value and Form: An Exercise

      13:50
    • 4. Photo References

      9:04
    • 5. Creating a Foundational Sketch

      16:00
    • 6. A Couple of Tips Before We Start

      5:03
    • 7. Adding Values

      9:09
    • 8. Lashes

      9:09
    • 9. Adding More Values

      9:02
    • 10. Lips

      14:30
    • 11. Brows

      10:56
    • 12. Hair and Background

      10:48
    • 13. Final Touches

      10:11
    • 14. Thank You!

      1:16
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About This Class

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Explore how artist Kathy Glynn creates realistic portraits in Procreate. In her class, you’ll learn step-by-step how to use a photo reference to create a realistic portrait in Procreate.  This class is perfect for the beginner portrait artist who wants to know “how did they do that?” A basic knowledge of Procreate is all you need to get started.  In the end, you will know the tools and the necessary steps to create your own realistic portrait.

In this class, I will share with you the brushes and techniques I use to create a realistic portrait that looks as though you sketched it on paper.  I will take you step-by-step through my process of selecting a reference, sketching out the foundation, creating value and form, and adding paper texture to your portrait.  I'll provide an overview of value and form and demonstrate how to transform a circle into a sphere in minutes.  I’ll also share tips on how you can import layers from previous studies, how to use layer masks, and how to use the smudge tool to create variation in value. 

Only a basic knowledge of Procreate is needed to take this class. I recommend that you download the Procreate manual (link in project resources) or take an introduction to Procreate class here on Skillshare.  For this class, I am using the Apple Pencil and the most recent version of Procreate (4.3.6) available at the time of filming this class.

Meet Your Teacher

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Kathy Glynn

Artist

Teacher

My name is Kathy Glynn, some of you may know me as "Artsy Canvas Girl" on social media. I am a self-taught artist, calligrapher, teacher, and author who loves color and texture.  I started painting abstract art as a therapeutic process back in 2009.  I fell in love with the freedom of experimenting with color, texture, expressive mark-making and composition. My art prints have been sold nationally in West Elm and I have won numerous awards on Minted.com.

In 2018, I published my first book Hand Lettering Step by Step: Techniques and Projects to Express Yourself Creatively (Get Creative 6, February 2018).

I love everything artsy and I love to explore all types of art, illustration, and graphic design.  At the moment, I’m in love with portrait and figurat... See full profile

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Transcripts

1. Introduction: So hello. I'm so happy you're here to join me on this journey of creating a realistic portrait. I wanted to begin by introducing myself and tell me a little bit about who I am. My name is Kathy Glynn. I'm sometimes known on social media as artsy campus girl. I started painting back in 2009. Predominantly abstract in watercolor and acrylic. Um, I've won a few competitions on minta dot com, and I've had a couple of my prints so nationally in West down. Um, I also fell in love with calligraphy back in 2012 and was totally obsessed with the end. In 2018 I published my first book in hand. Laddering. Um I love everything artsy. And now I'm falling in love with portrait and figure to work. Um, so I decided to share what I've learned so far. I'm so excited that you're here. So without further ado, let's get started in this class, I will share with you the brushes and techniques used to create a realistic portrait that looks as though you sketched it on paper. I will take you step by step through my process of selecting a reference, sketching out the foundation, creating value and form and adding paper texture to your portrait. I'll also share tips on how you can import layers from previous studies, how to use layer mask and how to use this much tool to create variation and value. In the end, you will know the tools and the necessary steps to create your own realistic portrait. 2. Value and Form: An Overview: uh, before we get started in drawing are Portrait. I wanted to review with you two key elements that I believe are very important to understand in order to draw a realistic portrait. Those two elements our value and form. They're also one of the seven elements of art. Light defines objects. It literally helps us see an object, but it also defines the objects. The highlights and the shadows create the form, so artists create the illusion of light by being able to produce a wide range of tonal and color values. Value is how light or dark, given color or hue iss. It might be easier to understand value by looking at this gray scale. You can see that it starts to the left as pure white, and it progressively gets darker to pure black. The values don't apply to just black and white. Any HUER tone has a similar scale from dark to light, So in this picture you can see the great skill above and below with a monochromatic scale. Using rad, the different values are created by adding white to lighten the value or adding black to dark in the value some artists used the complementary color too dark in the value form is theologian of depth. Artists have created techniques to trick our I. When shapes get this third dimension of death, they become forms. So here you can see that the artist has transformed a square into a cube, a triangle into a cone and a circle into a sphere. A strong sense of form can also be created by increasing the contrast between highlights and shadow areas. Here, you can see that this circle has been transformed into a sphere below the artwork. The gray scale is shown, and you can see that those various values were used to create this dimensional image. Mastering many different approaches to making form will give you unlimited options when creating your own are 3. Value and Form: An Exercise: So now that we've learned a little bit about value and form, I'd like you to give a try to this exercise. By doing this exercise, it will help you to understand the techniques that I use to create the portrait that will be doing in class. So what we're gonna do here is we're gonna create a sphere, so I'll be used in this bonobo chalk brush. I've set the brush to bonobo chalk. I've set this much tool to the same brush as well as the eraser tool. Okay, so the first thing I'm gonna do is I'm gonna reduce this down the spreads size down to, like, 1%. We're going to draw a circle. And the great thing about procreate is it will help you create a perfect circle just simply by holding your pin and place. And then if you place your finger on the screen, it'll turning into a perfect circle. So that's the first stab I'm going to Just make sure it's somewhat centered in the page, and then I'm gonna go over, and I'm going to create a new layer. So we have a circle on one layer. I'm also going to be using pure black. And now I'm gonna bump up this brush a little bit larger. Looks like I have it about three or 4%. This canvas is actually rather small. It's a three by three canvas at 300 d. P. I. So next I'm going to start creating our core shout shadow here within the sphere. So I'm just placed a little pigment down. And then the next thing I'm gonna do is I'm gonna use the smudge tool. So smudge tool again is set to bonobo chalk, and the size of it is similar to the size of the brush. And so now what I'm doing, what I'm doing is I'm using this much tool, and I'm going into the darkest part of the pigment, and I'm and I'm smudging basically, and I'm gonna actually boost this up just a little bit bigger. And when you're creating form, one of the rules of thumb in creating form is to go with the contour of the object. So since we're creating a sphere, my brush strokes are going to be circular in motion and the smudge tool basically a few if you start from the dark area and pull out. You'll spread more of the pigment around your canvas. So this is how I create the values is by using this much tool to spread how the the pigment. Now, the interesting thing about this much tools, if you can pull from the dark part. But if you want to lighten, you simply can start. You can pull from the light area and you see how if you pull from the lying, it will actually pull light into. And this is a way to create a great Asian in values. Pro creates, very forgiving. And it's kind of like playing, um, you can see how quickly we can build a form. So this is the core. Shat shadow is the darkest part of this the ball, and I actually feel like it's a little bit too dark. So I'm gonna come in, and I'm actually gonna lighten everything a little bit, and then we can come back in and American as well. You can always add more simply by switching to your brush. Okay, so it's a pretty dark ball, and I kind of want to show this to you so that you can understand how to create form. So the darkest area is the core shadow. And then as we the light source is to the top, the top left hand corner is our light source. So what I'm gonna do is I'm gonna come in and I'm gonna actually pull in more lying to create where that light would be kidding. And again, this is all done just using the smudge tool. And I know I'm getting a little bit outside the lines, but that's OK, because we can go back in and we can clean it out with the erased or tool. And you can also play with the opacity on the more that you turn. If you turn down the opacity, the lighter touch you can use to create the variation and values so you can see how quickly Hi, I was able to make a flat circle come to life in a three D form. So now I'm gonna take my eraser tool, which is also set to the bonobo brush, and I'm going to come in, and I'm just gonna clean this up a little bit. Where the where I went out of lying. Okay, The next thing I'm gonna do is I'm gonna come in and I'm going to create a new layer. So this new layer, I'm gonna actually move it down so that your one is going to rename that just circle later . Two. We're going to rename that, too, to form that contains our values that creates that form. And then I'm just gonna use this as I'm going to call this long lane, and that's what we're going to do here is we're going to create a line simply by just drawing a line across, holding your pencil down and then pressing your finger down and making it for his own tool . Now, what we're going to do is we're going to go back to this line layer, and we're gonna we're gonna add a mask to it, and this mask will allow us to non destructively at it once in the line layer. So with my with black, I'm going to actually change my brush to the monoline. This is a great brush for the racing when you won't like to really erase solidly, cause it's a solid, solid circle brush. So I'm gonna go in and I'm going to get rid of this line there in there, and then I'm going to go in. And I'm actually going to click on the in so that I can reduce the opacity, because I don't I just want a hint of the surface, okay? And then we're going to create one more layer. Chairman. Put it here, and this layer is going to be We're going to rename that cast shadow. So this cash shadow is going to and again, I'm you. I'm switching that to the bonobo chalk. And now I'm going to begin placing a shadow again. The I'm using the chalk, and I'm actually instead of using my pencil straight up and down for the point. I'm groups. I'm actually using it on the side to create this cash shadow. Basically what? This is just a a shadow, Paul, and I'm going to go in now with my smudge tool since smudged this a little bit. I feel like it's much too. Maybe a little bit too much. So come back in and create the shadow that would fall under the home. Checked. I think that and then take the smudge tool. Now, the other thing that we can do because we can go, men, and we can create a mask for the outline of the circle. And in this case, I kind of want to leave a little bit of that line. So I'm going to keep my brush at the soft brush. But I'm gonna turn down the opacity a little good, and we can clean up that line a little bit so that it's not so strong. But it still has that, you know, graphite pencil kind of look, which is really cool. Yes, that that is. This is basically has covered several the techniques that will be using number one laying down pigment with our brush using the same brush it with our smudge or tool to move pigment around to create variation in value. And then having the racer set to the same so that if we go to dark, we can easily go in. Enlighten. Well, I hope you enjoyed the lesson. Now it's your turn. I find too dark drawing from the lesson to provide a reference that details the values of the sphere. You can find it in the resource is section of the class. I encourage you to give this lesson. Try feel free to post your work in the project gallery along with any questions you might have. I look forward to seeing you work. 4. Photo References: uh, So let's begin with finding a reference image for our portrait. I'm gonna share with you some of the copyright free websites I go to when I'm looking for reference. I tend to use these sites or personal images. I take myself. So my favorite one is unspool ash, and you can also download their app right onto your iPad and then look through it and down , though, directly onto your iPad. I'm using the death stop today just because I think it will be a better format for taping for the class. So what I do like about on Splash is that it has the section called Collections so you can click over here and you do have to kind of, I don't know if you concert just in collections, but I I like it because there's, um, people who cure rate. So here's a book. Here's a collection called a Grief, Sadness, Melancholy. I tend to like to find photographs that have emotion in them just because, um, for me doing Portrait's are about sharing the humanness that we all have. And then here's a couple of collections called International Women's Day, so I really like this photo, um, again, a lot of times thes collections, people have gone in and curated. And, um, I'm always looking for things that are that evoke emotion. There's this, this one called Dark Portrait. It's so a so I like looking through the collection section. You can also go back to the main page, and they have a section over to the right for people. So if you click on people, you'll get some of these images and then you can also search. Um, I like to use. I usually search Woman and I used the word mood. I think lots attends when I use that word, I'll get, um, some interesting images as well. For me personally, I'm looking for images that evoke emotion, so there's different ways you can search. I did want to say, and then when I they also have woman here and click on. And then the other cool thing about unspool ash is that if you like us a particular picture , but it's not quite exactly what you looking for. So say you like this image, Um, but it's similar to what you're looking for, but it's not exactly. Then you can scroll down and it'll show you related photos that are similar. Another great wine is packed pixels picks. Obey is also a great one. Shopify has burst and I like their collections as well. So if you click over here on collections down here, there's people. But there's men, there's portrait's and women. I do like this portrait section. There's also a family area. So if you're looking at, if you're interested in doing Children because once you select on family, then you can also select for example, baby, if you want to do Children Childrens Portrait, it's so that's that. Some options and then the last one is called Reshot not is familiar with this site, but it looks like there's a lot of images there. I'm gonna go back over here, too, to a NZPA. Sh So when you're looking at, um, reference images Mina share with you a couple of tips go back over here to people. So as you know, and this is really for this project because this isn't like a straight across rule of thumb , it really depends on what it is you're looking, um, to dio with your portrait. But I'll give you an example especially when you're newer and you're learning. I tend to try to stay away from images like this. For example, um, we blow it up a little bit so we can see it bigger. So she's a beautiful girl, and it's I like the zero quality. But the lining here is very is very low, and so there's a lot of shadow. And so as a new artist, if you look sorry, for example, looking at her, I this should be because the lighting is not real clear. Unless you really understand the I the anatomy of the eye. This would be very difficult to draw because there's so much shadow she's wearing, um, you fake lashes, and it's just it's just not a great I wouldn't start with with an image like this. There's also some blown out areas that are kind of sharp. So unless you're more experienced and you understand I for beginner, this would not be a great reference photo to start with. And I would also probably say something like this because you're it again. The It's a beautiful image. Don't get me wrong. But for someone who's new, it's got such a strong contrast of shadow that this would be really hard to to draw if you're not real familiar with the anatomy of the phase. So it's just, you know, a tip that I'm giving you. And then something like this may also be a little bit complicated. Teoh. Only because it's, uh, the angle of this face thistles. A complicated, um, section to draw because of the angle. She's so beautiful. So now that I pointed out a few of maybe what not to dio, let's pick out some that might be a good candidate. Something like this would be good soon. Pretty clear image. You can see the facial structure well, kind of a straight on phase with decent lighting and not anything too dramatic. Black and white would be nice, but you can always de saturate the image and turning into gray scale, so I wouldn't put too much emphasis on that. Something like this would be good, because it's very clear. Um, hence que So this is being disappear, a good reference to use. I've already found to my reference. So I'm gonna go with that and I'll show that to you in the next video. But I just wanted to Penny go through and give you some suggestions. So now that we know a little bit more about where we confined our references and what kinds of photos would make a good reference, let's move on to the next step. 5. Creating a Foundational Sketch: it's time t jump in to procreate. So I'm going to go ahead and open up procreate by selecting the icon, and then we're going to create a new canvas. I'm using the square format. It's going to allow us to have a lot of players. I just want to know that if you're wanting to print out your poor trips, you want to make sure that the D. P I. Is that a 300 or higher setting. But for the purpose of the class, I'm just going to use this square format. It's not a true blue 300 dp I you can still you'll still be able to share this on social media if you like. Um, but I'm doing that just so that I don't have to be concerned about layers. The higher the DP I the lower number of layers you have, I'm gonna select this square preset that's gonna open up our canvas. And then the next thing I wanted to us, I want to import our photo reference something. Shrink this down a little bit. The next thing we want to do is we want Teoh import our image and to do that you're gonna select the wrench here up in the menu and then under the actions button you want to tap on , add to make sure it's highlighted, and then you're gonna insert your image based on where it's located. So if it's on dropbox or local or Google dogs or iCloud or whatever you're gonna say in sort of file, if it's in your photo location on your iPad, you're gonna say, Insert a photo and that's what that's where I have my image. Then I'm gonna select to navigate to find the image I want, and it is here. So it's really simple once you selected. Now we're in this interface, and there's some options that we need to make sure our in place so that the image does not get distorted. So be sure. Tohave, magnetic, selected and select uniform, and then I like to hit fit to campus once you because what it will do is it will just expand to fit the image onto your canvas, and then, if you like, you could move things around. I'm very happy with how this came in and how it's sitting, so I am one. Sure you have your image where you want it. Just tap on this little arrow key. And now you have your image in your document. I'm going to actually exit out of this because I've already taken the time to set up another canvas for our project. So I'm gonna go back to the gallery, and I'm gonna select this canvas, which is identical to the other one other than I went in. So if you click on your layers and I've set this up as a foundation for the project so I've named each layer based on what our needs are. So this is the image that I pulled in this reference photo. I named it reference. And then I added 123456 additional layers. And it's basically to help me with my work flow. So this sketch layer will be where we put our initial sketch foundation for the image. And then, um, these are broken down to the features and the details of each of those features will be used on each of those layers. So the face is where we'll go in, and we'll work on our values to get the face, um, tohave form and then the remaining layers are for each of the different features. So the next step in my process is to create a sketch and what I'm So I'm gonna go ahead and highlight this slayer, and we're going to use assault this soft brush to do the sketch. Now, I have made a brush set for this class. I just want you to know every every brush that I have here is a native procreate brush. So there's nothing additional that you need to go out and purchase to be able to create this. Sprout this portrait and I will have this brush set available in the resource is Paige. So I'm gonna select soft brush and I haven't set. I want it. I want to use the soft brush kind of like a pencil. So I have a reduced down toe, like a 1% brush signs that makes it very small. And then I actually have the the opacity. I'm just gonna have the past eight at the regular 100% setting and then under here under the palate, we're going to so let I like using a softer gray for my sketch. So I'm gonna use this lower. I may actually use this lowest soft grey. And so now it's time for us to begin the sketch. I take my time when I do the sketch, because I it's the foundation for the project, and it's going to determine your locations. So you should take your time. The other thing I forgot to mention we need to turn down this reference. So in order to be able to see your strokes, well, it's nice to go ahead and reduce the opacity of your reference image so that you can see your work. So I'm gonna click on the end, and when you click on that ladder there it's gonna expand this window, and it gives you various options. But it's also the place in which you can reduce the opacity. So I'm gonna reduce it down to about 50%. Maybe a little bit. Yeah, if you two percents good. And then I'm gonna make sure that I have that I'm on my sketch layer. You really don't want to? Sorry. I'm gonna go ahead and lock this reference just because that way I don't accidentally draw on it. I've done that, so I'm gonna go ahead and lock that and then make sure that you're on the right layer your sketch layer to begin drawing. So I'm gonna zoom in and start sketching in the various features. I tend to start with the eyes on Lee simply because I like the eyes, but you can start wherever you want. Okay, so and then also on my brush settings I wanted to mention I do have streamlines Turned up just a bit. It's a at around 60%. You can adjust it to whatever you're comfortable with. Um, the lower is the more sketchy and loose the the lines are, and the higher the more smooth the inaccurate. So it really just depends on your your style. So I'm just gonna come in and I'm, you know, just tracing, Really, which I was always a little nervous about tracing. Um, I know that in the art community, a lot of people promote drawing from life forms and they have issues about using photo references. And I understand all of that, and I do a little bit of everything that I also found that for me personally, you can learn a lot from the photos as well as all the other stuff. I think it's when you're just beginning. And it could be a little bit frustrating getting things in the right place. Having a little bit of a road map to me is very helpful. With this point, I'm just going in and I am. I'm just drawing tracing elements. So I have an idea of where everything should fall. I'm not getting overly detailed at this point, but I am trying to include a much information as I think that I'll need to be able to to place everything in the right place. 10 Teoh, focus on the darkest areas that are gonna help with creating the form. - So , as you can tell, this is gonna take a little bit of time. So I'm gonna continue working here. I may speed up the video way, way, - way , way, way, - way seven. A turn off the reference photo just so I can see if I taught everything I think we need. It's fair is just a very, very basic. Um, I tried just so you know, I tried to get the key features and then I find the hairlines important to understand. So I do put I sketch in the direction that the hair is flowing because I think that's important information to know us well, so that's our first stop is coming up with this foundational, um sketch, and this will help guide us through the rest of the project. 6. A Couple of Tips Before We Start: Uh, okay, so now that we talked a little bit about value and form and how we create form using value , I wanted to also show you another little trick that I do to help when you're first starting to do portrait's understanding value, um, or seeing the variations in the value can be it can be challenging. At least I think so. So what? I'm gonna dio I'm using photo shop. There's some other APS on the market like mobile APS and things that to this is well, but I have a photo shop. So what I'm gonna do is I'm coming over here to this, to the adjustments layer. And the first thing I want to do is I want to go to Hue and saturation and what I wanted Teoh, I want to take down the saturation to zero because what that basically does is it turns it to a black and white gray scale. So that's the first step. Then I'm gonna come back over here and there's an adjustment called post Arise. It's this little, um, icon here, and if you click on it, it's going to start. It defaulted to 4 to 4 levels So what this level does is it determines how many levels of value will be displayed in your image, so this reduces it down to just four. Here's the white medium, a darker and a block, so there's four and you can adjust the number of levels so that you can decide how much you want Tiu C. So if we get up here, let's see it's 20. Usually I think about 12 was where starts to show some various values, at least for this image. Um, and then you can bump that down and you can see how it changes over time. And it can to show you, you know, where the darkest darks are. The lightest lights are, um I like to set it kind of depends on my mood, but I'll use this to help me see the various values in the face. And I do like 12 because I think that it it gives you just the right amount of information . Helps you to see, for example, how dark this little area is here in shadow compared to, say, the brows, um, or even the lips from here to here. So I'm gonna save this image and you'll find it in the project. Resource is, but there are some other amps out there. Some mobile APS. None of them are coming. To my mind. If I think of one or find one, I'll put the link in the project Resource Isas. Well, so this is another tool that you could use to help you, um, work with creating the right tones in your portrait. Okay, so now that we're getting ready to work on the values to create our phase, I'd like to bring a reference image onto my screen. That's how I work. So And to do that, I want to show you there's a tab down here. You pull that up and you're gonna get your tow bar. This will show over here to the right. These three icons show the most recent APS that you've been in. So if you haven't been in your photo location in a while, the easiest way to get your icon to come up is just Teoh that's without appropriate for minute. Open up your photos and then you can accept that if you want, but I leave it open just because there's no reason to close it. really and then come up back over here and that will. By doing that, it should now show your photo icon should be in the toolbar. Once you have your photo icon in your tow bar, just hold and move the icon over to the left and now you'll have your image. If your image isn't here, you can navigate on the oops on the bottom strip, or you can hit the back arrow and it will take you back to that full photo environment and 7. Adding Values: way Have a reference image to the left and I'm on my sketch layer. I want to move to my face later. And what I do basically is I work kind of. I don't work on just one thing at a time. Today, I'm going to start with creating some value on the face, and then I'll probably jump around wherever I feel. I need to go. So the reason why I say that is that, you know, values will change as you introduce other values to it. So you're always kind of readjusting and using kind of that critical I in order to make the form look riel. So I'm on. I'm gonna start on the face, and I'm gonna start with a light value. And the reason why is that? It's so much easier to start light and go dark than to go dark and then try to get light. So I start conservatively. I first start using the reference photo. I want to see what? Let's go here minute. Got a market so I can change the opacity. So it's at 33. I'm gonna bump it up. It's gonna be kind of hard to see and I'm okay with that. I kind of I know I'm work working in the dark. And then at some point, when I'm ready, I let go of the reference. And then I used this reference. We should like that so that we don't that's simply draw on it. So I'm going to go to this face layer, so always make sure you're on the right layer. I also have from the earlier earlier video. I also have this polarized image because this will help distinguish for me. What it does is like when you're looking at a photograph. The values are so subtle. Graduation. That's why it looks like you know so riel. The polar posterized image that I created allows you to kind of look at values a little bit more distinctively so you can see that for example, this area here above her lip is is pretty dark. And when you have this posterized image, what it does is it lets you compare well. How dark is that? Compared to this dark area of the lip? Or how dark is it compared to this area of the eye? Are they the same value? Are they darker? It helps me to be able to register value a little bit easier, and so I use it as a tool to help distinguish. So I'm just going to start on an area that's I find interesting and begin to put down some pigment I just addressed. Adjust my brushes as I need it, see? And that's already pretty dark. So we'll do that. And then I'll come over here to my smudge tool and all begin adjusting yet so that I can start moving pigment around way . Start like this and then I will work back and forth where I turn off this reference photo. And when I turned off the reference photo, then I'll begin looking over here. So, for example, this little area I start looking at the shapes that I'm seeing, and I tried to began making the's shapes. Teoh create the form, you know, but additionally, I do want to say understanding the bone and muscle structure underneath the face is really important as well. So study in anatomy is a good idea. Study the anatomy of the phase, the body, whatever that you're interested in drawing so that you understand the form is is a very helpful thing to Dio, and at this point, because it's still so early on, I just start putting values down kind of loosely where they are. And then as I as I work, I just begin to adjust it. So it's is definitely a process. I really like this saddle. I like creating teams have this transition way, way, - the face part the face, um, the layer that references face, which is gonna be all of the values that form the face. I'll be working on this layer throughout the whole project because there because I'm always gonna be going working back and forth. So what I'll do is all start to put in some value like that. And then what will happen is all get interested in Maybe this I or the lip, because see how it's leading and I'll work on that. So I think what I'm gonna do now, So I'm gonna go ahead and go to the the eyes layer and begin to work on the side way 8. Lashes: way to switch now to the soft fresh, and I'm actually gonna turn off this face. And I'm gonna turn on the reference I'm gonna begin working on the lashes and the lid Way , - Way No way. - So now that I have a little bit of this I done I don't feel that I need the underlying sketch any longer. So this is what I dio. I come over here to the sketch layer and I tap on it, quinces highlighted. And then there's this option for a mask. Select the mask on what the mass does is it allows you to erase things without totally losing it. So what I mean by that is it's similar to photo shop. If you're familiar with photo shop, you can mass things they call it non destructively because you're not actually truly erasing it. So to use this mask layer, it works in black and white, so if you want to erase something or make it not seen any longer, you can use black to erase it. But if you want it to come back, you can use wine to bring it back, and that's why I like using it for this this purpose. So what I'm gonna do is I'm gonna come appear to my palette, and I'm gonna make sure these two this is a pure white in a pure black color that I put in the palate. Now, if just a za little tip if you want pure white or cure black, you can double click near the black, and it will take you automatically to pure black. And if you double tap and they think excuse me think I said DoubleClick double tap near the white, it will take you to the pure white. That's just a little side tip. So I'm gonna select the pure black, and I'm gonna come back over here to my layers. I'm gonna make sure that this layer is highlighted the layer mask, if you to know that it's when it's the darker blue. So if I highlight this layer, it's darker blue. Then I can actually write on and draw additional items to my sketch. But if I'm on the layer mass now, I'm in that special mode where I can use the black and white t either hide or reveal what's underneath. So with that highlighted, I'm gonna come here because I went to try to you raise something and realized that it wasn't it waas my understaffed me underlying sketch and not the actual thing that I wrote something. Make sure that a minute for this I'm also going to use the monoline and I'm gonna come down here and I'm gonna start. You raise seeing my sketch so that I'm not confused on what is white. So as you're working and you become more confident with the different areas, then you can go in and start removing some of your sketch amusing the monoline as my eraser brush. Because it's a real salt when you want to, just like really, you race Well, okay. And so now if you come back and look at your late, you're going to see where all the black ISS And just so that you No, If I was to come here and select clear, it would clear that out and then what I just you raise is still there. So that's how a layer mask works. So now that I have the lashes roughed in, I'm going back in and I'm defining and adding more contrast, focusing mostly on the contrast near the lid of the I because that's the darkest portion where the I is in this case is closed and so you're going to find that the darkest value will be at that area. I'm focusing also on creating curved lines. That's why I move the canvas around. I moved the canvas around so that it's easy for me to create my strokes at whatever angle I need it to be. I'm also creating adapts. You'll see that I focus on creating some of the stronger values in the bend of the lash, so I continue on just building up in increasing values where I see way . 9. Adding More Values: I'm just going to start working some more on the value in the face. So once you just be sure that you switch around and move around so that you're on the right layers, I'm gonna turn on the reference because I want to look a little bit closer in detail to this area of the eye. This is the area that I'm gonna work a little bit more into and begin darkly in some of these areas. - Way way , - , way. - Now another thing you can dio is so here. I'm trying to get a little bit of this. Tiny has really been highlight here, which is the fold of her eye. And I've gone a little bit too dark. So what I'm gonna dio is I'm going toe. I'm gonna come in with a much lighter shade to try to make that highlight more apparent way . And I want to spread out this darkness, which is actually part of the eye. There's something flip back over here to the I layer kind of expand that to create this contrast here when you're working, it's really good. Teoh, zoom in and out so that you can see what how it's how it is conveying in the bigger scope of the of the image. Okay, so now I'm gonna come back over here to the face. Thanks. Grabbing my smudge tool again. He's the size of brush. A little bit too much. I'm just trying to stopped in that way . Yeah, I'm trying, Teoh, I want to create this. This value through here is going through a good portion of, um huh phase. So I want to try to mash it. So what I'm gonna do is I'm gonna just tap the screen. When you do that, it's gonna pick up. It's like a color picker, so I'm gonna use that now, too. Place some of the way again. I'm following the patterns on her face. You have to use a little bit of both that you follow patterns on the face. But then you also need to use your intuition. And that just goes back to knowing even if you haven't studied anatomy, we've all looked at faces, Um, so much in our life that we do understand it. I believe we understand those images a bit intuitively. So when I struggled to get something to look right, I tend to just relax and follow my intuition until it works itself out 10. Lips: s. So now I'm gonna move on to the lips. I'm gonna turn the reference photo back on. We can use that to help us see our values. I'm I'm still using the grunge brush, and this second gray color is what I'm gonna be using. This is gonna be the darkest area. So I'm going to start here with the dark pigment, and then I'm gonna pull it out way , - way , way So we can see that the lips are starting to take a bit of form. And one thing that really helps when you're when you're working is, um, in creating form. Going with the contour of the item that you're creating has a way of helping the form appear so the bottom lips, you know, our round there's actually muscle here, and I must So here that causes the lip, too before and flush. She and so I'm I'm creating my strokes around that knowledge of knowing that this steps what's going on underneath this skin way, - way , way. Turn off the reference when you turn up the reference, it's always look, maybe a little shocking because you are working kind of blindly, but, um, then once I turned that off. Then I begin using this reference and feeling it in with with more detail way , and it takes me a little bit of time to build this up. So this technique requires a lot of patients for sure. It's not. The only way to do with this is just I'm sharing with you how I do what I do. I always find it fascinating. One of my favorite things is watching other artists and seeing their techniques. It's so I find it really fascinating way , - way so sometimes, and I'm being large sections. If you tell your pencil, it will make it bigger for the brunch brush. And I think for the Nico, they both do what? So sometimes I'll use that to my benefit. Way, way, - way , way, - way Oh, I've completed the lips. I want to show a little tip that you can do in procreate. Procreate really has become like a sketchbook for me. And so I do a lot of studies in procreate. One of the cool things you can dio is you can swap out layers. So, for example, I'm gonna go out of my out back to the gallery and This is an image that I worked on. It's not completely done. You can see that the eyes not finishing you can see that I have a lip player here. And the lips on this portrait. I think I did a really great job. So I'm loving these lips. I have this sketch image and it's very close to the format of our image in the class. I'm going to click here and you can tap on this layer and select copy. So now with that copy to our clipboard weaken, exit out of this document, go back to our gallery, come here to our new document or the document we've been working on. Now I'm I'm here at the lips. And what you can dio is with three fingers is swiped down and it will give you these options. And what I want to do is I just want to paste what I just copied. So I'm gonna select paste. And now we have this set of lips and that you could Dio is you can move it into place like this. Okay? And now I can turn off this lips and I consume in and make sure that the lips are where I want them to be. And I did a pretty good job. So the point of this is practice, practice, practice, draw a lot. But the fun part about the digital, um, working digitally is that you can exchange parts or if you do studies and you end up liking a feature in one study and you want to import it into a new image, you have the freedom to do that. So I think it's really very, very cool. And I just I just love working digitally for these types of benefits. Now we have a little bit more of a completed image. 11. Brows: Now we have a little bit more of a completed image, and you can see how the values within the lips will impact the shading of the face values because value is really relative. I'm gonna go ahead and finish up this I area and start filling in some of the tones and values in the face. And I'm going to speed through that because you've already seen me work this eye and then we're going to move into the eyebrows way, - way , way, way, way, way so that we're going to begin working on that eyebrow. The first thing I do is I switch brushes to the soft brush, and then I'm going into select the darkest value from the Libs. I'm gonna use that value to fill in the brow area. I decided to turn on the reference photo because I want to capture the angle of the hair I'm creating now a second layer and I'm I'm playing with the brush to find the right size because I wanted now begin to place some texture in the brow by following the hair growth way way. This I'm working on this. I'm realizing that I need a darker value. So I'm going in and I'm smudging the areas that I worked on before that had the strokes. And I like leaving a little bit of the edge work here. Um, just so that it has a little bit of texture now in going back to the first layer, and I'm realizing that that layer is maybe slightly darker than I need it to be. So I'm going in and I'm I'm smudging it, cleaning it up a bit, Um, and by smudging it, it lightens the value. The other thing that I'm doing is I have reduced the size of the brush so that I can create some hair like texture. But this time the hair is in a negative value, meaning I'm pulling from the light and bringing in some of, uh, some of the hair like texture to break up some of the value because I'm realizing that that value is pretty dark and I want to make it look a little bit more lighter, but also somewhat textured because the browse such a texture to area now in bringing in the other layer toe look and see how it's looking and I'm cleaning up again a little bit more here. I'm going to do the same process to the other brown now way. So now I have created between the two layers. I like what I've created, and I've decided to merge the two together and use that as my base for the brow. At this point, I want to create a little bit more texture, showing the various hairs within the brow. So I'm going in and working, similar to how I did earlier. By creating strokes that follow the hair growth patterns within her brow, I'm paying attention to the values of the brown because you can see the area. The area right above her eye lid is much darker than the area that goes out towards the corner of her eye. So I'm focusing on create creating that same dark value in that area and then being thoughtful in my strokes, creating, um, the hairs that go out near the corner of her eye are a little bit more spars and lighter in value. So that's that's what I'm attempting to create here 12. Hair and Background: most of our faces completed. Now we will want to go back in and re evaluate the values once we add in the hair. So that's the next step. We're gonna begin working with the hair. So what I've done is I have one layer here for hair, and I dont know why thats like that. That is going to put that back to normal. Okay. And I'm gonna add a couple more layers. So we're going to start here with hair in company. Named this to hair, too, and this one could be here. Three. You can. I'm gonna start on this first layer. So for brushes, go back to high school share. We're gonna start with this water bleed brush, and I am going to start with fairly dark color. But I'm gonna reduce the opacity down just because it will reduce the color as well. So and what I'm gonna dio because I'm just gonna begin bringing in some color. So this is a water bleed brush. It comes native with procreate. - Okay , so that looks pretty messy. I like to go in and use the water bleed and and try to blend this a bit. I have the capacity down about halfway. But the size of the brush is fairly large just so that I can create a little bit. Take out some of those. And I think this is a little bit dark, um, turned out darker than I hadn't testes a pated. So to solve that. And this is a great technique in general when you're working and procreate when you're working with values. So, for example, if you're working on your eyes and your lips and your values are off, you can always do some adjustment at the late at the layer level where you can go in and reduce the opacity of the layer so I might not get down just a tiny beds UK. So I'm really going on ethereal Look, and I know that it's a little messy at this point that will go in and what will clean it up . And then what I'm going to dio is I'm gonna actually duplicate this player and there, and they're both set to multiply. And what that does is it's gonna darken the layers of bit, and then I'm gonna come in with my racer. So I used this continent. Um brush as a racer and with one of the I guess the top player doesn't matter either one. I think if you select the top layer, that is gonna be easier to to see your adjustment. So then, with that selected, I'm gonna go in and I'm just going Teoh, it's a little bit bigger. Go in and I'm gonna trust touch it In a few places, I'm just trying to make an organic look. So now with that And so if you turn this off, you can see a little bit better. This is the top layer versus this is the bottom layer. So see, we haven't touched anything. But then, with these two combined, we could march them together like that, another one layer and we can continue plan. So now I'm gonna go to a new layer and begin to finding some of the areas of the hair segments of the hair. So I'm gonna turn on the opacity on this a little bit just so that I can see better. But I'm still on a new layer. And then what a minute Teoh is. Grab the water lead brush again. I'm just gonna go in and I'm gonna I'm gonna dark and end some areas. And what this will dio is it will start defining a little bit of the hair so that it's not just one big blob way way. So by adding a little bit of this idea is to create a little bit of a little bit of structure way bring in a little bit of these wispy hairs. Some of that may not actually end up showing once we bring in all the layers. But having a little bit of that, a little bit of that attached her is gonna help define it here way. Uh, not sure Bring in all of this, But again, it's kind of nice. Some of this may get lost when we merged or bring the layers together. I think that's a little bit. Let's let's bring the past the backup on this. You could decide how much you can actually turn the reference off so we can see what we really got. Points such a victor prince. Okay, well, it's a good star, so I'm gonna continue working on this, probably gonna pass forward some of this just because this is gonna take a little bit of time to build that up. But I think you're seeing a technique that I'm you see, 13. Final Touches: So, as I had said in the last video, I'd speed through some of the hair. So what I'm doing is I'm continue working on the hair and you'll see I'm working on the strands of hair here. Then I'm continue working through creating various segments, focusing on the darker areas, adding depth on dimension to the hair, you know. And if you don't want to do the other layer and you just want to focus on doing the hair like this, that's that's an option. Now I've reduced the size of the brush significantly. I'm going in and focusing on some of the more delicate hairs to start to begin creating a little bit of texture. So I'm working between both layers here and going in and cleaning up the face from that first hair layer. And now I'm working again on the second hair layer, using the eraser to create a little bit of dimension. This time I'm using the wet glaze brush because I wanted to add some interesting textures now gone into the face. That underlying sketch were that we have the mask and I'm cleaning up some of those lines and then I'm jumping back into the hair and adding small little hair, wispy hairs and details again and and trying to create a little bit more dimension going in and using my eraser, I decided to clean up the hair a little bit and again, more detailed little wispy hairs here and decided to begin working on the background. I created a new layer. I'm trying to create some kind of a mood, and so I'm thinking about how I want to treat this area. Now I begin to finding the neck area. You seen the grunge tool and this much technique. - Now I'm going into the face area. Now I feel that the hair is pretty well done, and now I'm reassessing the values in the face and making adjustments. One last tiny little detail I decided upon was to use the HB pencil to do the drawing on the bottom right side of the portrait. I thought it would be kind of cool toe leave looking a little bit like just a wrong pencil drawing. Okay, so now we're pretty close to being done. The last piece that I would like to add to this to make it look a little bit more authentic in using traditional materials is to add in some texture. So I've included this file in the resource is area as well. So what we're going to do is going to come over here to the wrench and under the wrench. When you so like that with the icon the plus icon selected, we're going to tap on insert a file. You could also say in sort of photo if you put this in your photo location on your iPad, But for me, I have honor, I have it in a folder. Someone is select insert of file and I'm I have mine in my dropbox. So this canvas file here is what I'm going to select and it's importing so you can see it. It's formatted in a square shape, which is how I wanted it. So I'm fine with how that came in. So I'm just gonna tap on the arrow key at the top. And now that this layer is in our canvas, I had actually inserted it. You can see inserted image. It's below our sketch. What I want to do now is I want to add, uh, rooms. I want to add a mask to this because I like this campus texture for the paper, but I don't necessarily want it everywhere. So what I'm gonna do is I'm going to use a layer mask, and I'm going to use this grunge brush, and I'm gonna make sure that I have a true black. And so now with my grunge brush, I'm gonna go in and I'm going to start erasing out the areas that I don't necessarily want . I'd rather not see the texture on the face. So I'm going to remove some of that. I'm gonna leave a little some bits and pieces. Um, just for the fact. And then I'd like to take it out of this area a little bit here and really just you can play around and figure out where you where you want it. The great thing is, we're working with the mask. So, um, you can if you decide you took out too much, you can always come back in and reveal mawr or, you know, is just it's using again that non destructive, um, way of removing things. So after we've made our ad, it's if you come back over here to your inserted image. What, you think I'm gonna rename that too? The name it as canvas. So I know what it iss. And then you can see in the layer mask, you can see what was removed. Um, you can see the black parts, bits and pieces there in the layer mask, you know? And if you don't like what you've done, you can always come appear and select clear and clear it out. So that's how um we can add a little bit more of a realistic touch to our portrait. So that is the last piece of the project. And I really love the way she turned out. - Way , - way , way. 14. Thank You!: Well, we did it whenever I do a portrait. Always feel like I've been on this big journey. Um, not knowing how it's going to turn out. And you really do doing art? You learn a lot about yourself. I hope you enjoy this class As much as I enjoyed putting it together and I look forward to see in your artwork I'm feel free to post your are in the project gallery. And if you feel like posting your artwork on social media, please use hashtag rt campus girl underscore skill share. I'd love to see your artwork. If you have any questions, um, feel free to post them in the community page. I'll be happy to, um, respond as timely as possible. And if you would like to leave a review on the class and follow me here on skill share, I would love that as well. Thank you so much for taking this cause. And I look so forward to see in your artwork