Digital Painting: Greyscale into Colour for Portrait Painting | Janos Gerasch | Skillshare

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Digital Painting: Greyscale into Colour for Portrait Painting

teacher avatar Janos Gerasch, Join me drawing and painting

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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

8 Lessons (50m)
    • 1. 1. Intro

      0:45
    • 2. 2. Research is King !

      5:27
    • 3. 3. Drawing the face

      12:11
    • 4. 4. Greyscale Rendering

      11:17
    • 5. 5. Finishing the Rendering

      6:22
    • 6. 6. Direct Colour vs Greyscale

      3:24
    • 7. 7. Colourizing the Greyscale

      8:52
    • 8. 8. Summary

      1:15
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About This Class

In this class I will show you how to colourize a greyscale portrait in photoshop. 

We will start with a drawing and then will paint the face in greyscale. I will also tell you all about the Pro´s and Con´s of the direct colour vs the greyscale method.

Please make sure to post your results in the project area.

Meet Your Teacher

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Janos Gerasch

Join me drawing and painting

Teacher

Hi !!!

my name is János Gerasch and I am a Concept artist from Berlin, Germany.
I currently work for a company called Wooga and create Characters, Environments and Props on a daily basis.

I try to share my knowlege here and on youtube while having fun creating Art.


More about me:

I discovered art and the field of concept art in 2014, which lead to a Bachelor in Industrial design.

I have experience in working in film, video games and commercials. I also have started a Youtube channel so feel free to check it out.

I hope I can inspire you and also give you some valuable knowledge when it comes ... See full profile

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Transcripts

1. 1. Intro: Hey guys, who, working back to my next skill shed class today, we're gonna talk about how to draw and paint a face and gray scale, and then how to actually colorize it. For a lot of people, it's kind of tough to direct. Learn how to paint faces into pain. Skin tone is completely understandable. It's quite tough. That's why I decided to make this class where we drawn pain to face first in grayscale and then colorizing. I will make the process very slow so you can easily understand it. It's for an absolute beginner, and I want you guys to take your time in between so it can make sure that you spend a lot of time on the drawing and on the painting. And if you done, you have a really nice result, and please make sure to post it down below in the project area. So enjoy my school shirt class. See you in the next video 2. 2. Research is King !: Hey, hello. What? Come to my next skill shed class today, we're gonna talk about how to drawn paint a face in grayscale and then how to colorize it. But before we start, I just want to show you something. So these are some of my recent portrait. I did. And there are different types off the looks you can achieve when you try to draw and paint the face and for shop. When you directly paint face with color, then it. It is very hard because you have to think about values and you have to think about color. And you have to think about flesh tones and how toe paint skin realistically and how to adjust it to the behavior off the skin. That's why it's a super nice method to stop in grayscale, because then you can actually focus on Lee on the grayscale part first, so on the values and then you can colorize to face later on. So before we start something which is always important, research research is king. So for this I want to show you guys how I do it usually. So what I always was recommend to everybody is getting a Pinterest account and making your own Pinterest sports picture research image research is way more powerful than let's say, keyword research. When you go on Google and you type in the keyword, it can happen that you may be. Do not get the image you actually wanted because you wrote something differently as you actually consider it. But here it is super nice, because when you, for example, find an image, let's say it's that one. You're going to the image and then automatically. Pinterest gives you another examples off this type of image, and this helps you really nicely to find a lot off references. You may be one to paint, or you may be need for just normal reference for light lighting or for skin texture. And that's something which always would recommend to everybody is getting a Pinterest account and make your own painter sports. I personally, as you can see, have a lot of Pinterest sports. When you have a lot of projects you're working on on things you want to save its very handy to have them named in, and then you can use them for later stage. The other thing I want to show you is ghoul because I use Pinterest and I use Google. When I use Google, there's something major important what I think everybody should do. So, for example, when you Google old lady portrait, you get the first bunch of images. But the problem is, the automatic set up for image is on small. So let's say you need a reference which has to be in a high resolution. Or that's actually what you want, because you want to have a high resolution to have the highest amount of detail. If something is blurred and you may be unsure, okay, is that actually fault? Or is that is that value shifting? Then it's a little bit off problem if you want to learn from it. So I always would recommend if you use image research on Google, go on tools and then click on size and pick on large because then you get the highest amount off pixels from the image you can see here when I go under it with my with my cursor , you see, every image got at least a very high picks, a ratio, and it's this is super crucial, so please make sure to go on Google and select the tools large and size and large to actually get the highest resolution. So today we're gonna drawn painted face. But before you have to decide what you want to paint so you can do it as I do, or you can do it as you want to do it with your own kind of reference. So please, now, go on, Pinterest, look for the reference you want. I would recommend that you guys maybe take a black and white painting because it's also easier. You can also take a colored image and then put it to gray scale. So I decided that I will do in an old lady. That's why I also typed an old lady. And here's my image are going to use. But if you decide that you actually want a colored image, so that's no problem. Super simple. Let's say we take this image, then we copy it. Bring it back to photo shop control V to put it in and then control you toe open you and saturation. And then we put the saturation on minus 100 make it to a Grace Gammage, and then we can start it So I want you guys to select your image, open a new Photoshopped file, put your reference image on the left side and then we can start with the sketch. 3. 3. Drawing the face: So I hope you all grab your reference. Put it in your Photoshopped file. And now we start with the sketch. So when it comes to sketching faces sketching the head, I like to use a very small and thin brush which emulates the pencil. Also, I would always start with the shape off the skull, which doesn't mean that necessary. You have to start with the ship, the skull. But if you begin, I would recommend that you try to find a shape and the actual form off the skull off the person you try to draw. Also, try to take your time and work from big to small. Try to capture the big masses and then go to medium and then too small. This basically helps you to not lose yourself inside of details and you keep on track off. Try to emulating the things you see. And as I said before, I really try to take your time. Pause the video, really spend around an hour. If it, if it's necessary, spend around two hours. Even that doesn't really matter how long you take. The result is the most important thing. When I started out, I tend to really stress myself with r K. Have to be very fast doing those sketches. No, it's not an accessory. Really. Take your time and draw them very slowly and try to really analyze the image. Also. Why? Analyzing image? Make sure that you consider that you always think about the structure off the skull because the skull is underneath. And if you see something which is unclear to you, make sure that you maybe google the skull structure again and look at the form of the skull and then try to think about Okay, what is actually happening? What? Why is there a plane change and why is there a little bump on the cheeks? Also, if you feel drawing and photo shop is too hard for you, I can also recommend you can draw it in your sketchbook on paper, or you can draw on your ipad and then, for example, if you draw it on paper, you can scan it and then put it next to the reference image. So you have a better start in the better base to continue your painting. Also, another tip, as you maybe see here I took the first sketch and then I lower capacity off the sketch, and then I create another layer above and start to go over it a little bit. So I can actually do some changes on the ice and do some changes on things I maybe don't like or which may be appear wrong to me. Really. Take your time on looking for your sketch, and don't try to copy it 100% perfectly because you don't need to. It is more important that you actually copy the right anatomical structure and the facial features. There's also rule of thumb that, actually the space between the upper part of the nose and the beginning of the hairline is that equals the part from the upper parts of the note nose to the lower part of the nose and the lower part of the nose to the chin. So when you draw a face, you can keep this in. Mind it, those three parts are actually almost equal, and they just vary from person to person a little bit. But I also really liked about the reference I chose was this triangle part off her mouth and her nose. You can see that the faults around the nose and the mouth are creating some sort of triangle, and that helps me. That fact helps me actually to translate this on my image, because then I see the ratio off the nose to the mouth. And how, how Why does the mouth actually and how widest nose and also how it sits when you get older ? Gravitation tends to affect the skin off your face and on your body so it hangs more downwards. That's why also old people have more folds in their face. My next tip where we also don't be too precious with your drawing. There's a saying, which sounds very drastically, but it means be ready to kill your darling to kill your baby, which not means to actually kill your baby. It means to when you have a drawing and don't put it on a protest. Don't give it too much value. Be ready to change it for its own good. So what I actually did also a lot in my first years that I always thought OK, that's a very nice drawing. I don't want to mess it up, but when you really tried to become better and drawing faces You have to be very analytical and you have to be honest with yourself. There's always something you can improve on. So at this point it is halftime for the drawing, which means I spend already 35 minutes on the drawing and you can see it's not done yet. And I will do a lot off more changes on a drawing. I try to work slowly, some off those headlines, just to indicate a hair a little bit. But I'm very slow on the process because I want to be very efficient and want to make delicate decisions. So don't stress yourself. Really Take your time. Also, when you see those small lines, for example, on the forehead off the old lady, they just indicate some faults. So later on, when I go to the painting stage, I remember okay, there is some sort of like form changing, and there's maybe a fault, which means it's gonna be liver darker than the other planes next to default. I have also a very special and I wouldn't say secret tip, but it's a very important tip. If you want to get better at drawing faces, keep a sketchbook, a sketchbook is absolutely king because in every situation where you sit around and people have their smartphones in their hand, you can take out a sketchbook, take out a pencil and just try to do quick sketches. Getting and creating a habit off sketching heads in general helps you when you have to do a portrait, which you want to push a little bit further, you need the routine of analyzing and you need to routine off, trying to sketch ahead from different angles, different positions because the head is very complex in the form itself. And like I said before, every head is different. Every had got a different nose. Every person got different years, so it is absolutely crucial when you really consider to become really good. A drawing faces keep a sketchbook, and I think it's a great tip because out of my own experience, I couldn't draw and paint. Five years ago, when I started out to draw and paint, I knew that I needed to draw on a daily basis and having a sketchbook besides you all day every day helps you just to get better at drawing. But also, if you try to delicate practice on faces. It is absolutely necessary to have a sketchbook into draw in your sketchbook every day and you will see it is so rewarding when you fill the hole sketchbook just with faces and what you actually learn from the first page to the last page. And don't forget drawing and painting is fun. It is so positive and it makes so much fun. That's why I try to tend to use more time on my drawings and my paintings because I enjoy the process. So just enjoy it. Okay, Spend a lot of time on your drawings, so you have a great result. You have more fun. You can enjoy the process of drawing more and more. And next time, when you start the new head, you will see that you became much better and everything would be way easier. At this point of the drawing, we want to start to draw in the darker shapes, which are the shadow shapes off the face. We're going to do this because that's gonna help us later, when we go into the painting stage where we paint in gray values that we have ah, separation off light and shadow before we start to paint so we can Day sect. Okay, where do we have to have light and where do where do we have to have shadow? Also make sure to take enough breaks Go for cough You go for walk because drawing is very exhausting And sometimes when you come back you see mistakes and then you can change them and you will feel better about it because when we stare on an image for 30 minutes or one hour, we start to lose sight. Basically, now we zoom a little bit more because now we start to do small lines to show how the farm is changing. This is optional. You can do this. I would recommend it, but you don't have to do it. I like to do it because I like to see and remember how the form is changing. This also helps because you pre analyze the form before you paint it. You can remember form. Change equals value change. This means when the form is changing, the light on the form is changing as well. What you also can do, You can go on image image, rotation and flip the canvas horizontal. This helps you to see mistakes in between. You can do this every 5 to 10 minutes, so you make sure that you don't do two big mistakes in terms of proportion off facial issues. There's also one important thing we have to point out, which is the overall silhouette off the drawing, which means when we laid on paint the drawing or paint under the drawing. Actually, then we create a silhouette, and the silhouette has to be interesting also to convey the right shape off the face and also to help us to create a very appealing image. At this stage of drawing, we just do some last couple control lines to create the shadow shapes which are helping us late on painting. And I just want to point out you can do this. Like I said, it's not necessary, but it will help you if you analyze the image before where is the shadow? Where's the light coming from? I actually have a top flight scenario, which means everything. Pointing up is in light site and are gonna have some cast shadows, which I go vertically down. You can see this under a chin is very dark under her nose. It's very dark, and her, I holds are also very dark. So keep this in mind when you do your drawing. If you come this far, you can be very proud of yourself. Make sure that you clean up your drawing a little bit. Make sure it's good enough that you have enough information for the painting stage. And I want you guys also to take a break before we go into painting stage, because there's gonna be a longer face, actually, because painting is a little bit more difficult and takes a little more concentration livable focus. So also, make sure take your break in between. So we're already and fresh to paint. So over owned this whole drawing to be 57 minutes and you can see I still do some last minute adjustments. I do some. I do some small control lines. Just make sure that I have everything force that my painting and I also want you guys to save your file, make sure to safe in between so it photoshopped crashes. Just make sure you don't freak out, so you basically have your drawing. And yeah, I'm happy that you made it that far So in the next part, we gonna paint our face. We're going to start with the grayscale painting. This was going to be the most fun part for me because I love painting, and I hope you do as well. So, um yeah, let's jump right into the next part. 4. 4. Greyscale Rendering: Hey and welcome back. So after finishing our sketch now we have to create the silhouette. So for this we take the magnetic lasso tool which is on the side. And then we go very slowly on the outline off our drawing really take your time for this. But usually when you take the magnetic lasso tool it is very easy to create a very nice shape because it takes all the pixel information off your drawing to refine our selection. I will now take the normal s a tool and at and dissect through pressing shift and old our solar it a little bit more after cleaning up also it I take the bucket tool or you can press G and then take a basic tone and I fill it with a tone. And now we have to tone under Allah drawing. Now we create a new layer, press salt and click between those layers. And now we have a clipping mask. If we now take a tone and draw into the layer you see, you cannot paint over the border. This helps us to stay inside off our silhouette. Now we want to do two things we want to first lower the capacity of our sketch, and we want to put another layer below our our silhouette and fill it with a darker tone. So we have a higher contrast and it matches small. The reference. Now we take a big brush and try to think about delight, masses and the dark masses. So what do I mean by this? Everything which got hit by light, got a base bright tone and everything which is in the shadow area. Got a dark tone. Think only about two tones you would give to face and then take a big brush. Put them in very gently. Don't think about all the small nuances in between Onley. Think about two values. This video is obviously fast forward because the whole process of painting took very long. So don't rush, really Take your time, analyzed the image and put in your strokes. Now I start to take my dark tone and I think about okay. What are the dark shapes? I always start with the darkest darks, which are usually islets, nostrils, mouth and under the chin. I decided very early, also to give her collar a very dark tone to have a very nice contrast between the neck and a collar when you have ah, broad understanding, off delight situation and off the shapes Start work very slow and all the shapes you see and don't be afraid. Making mistakes is very normal. Everybody can make mistakes, really take your time. Also experiment with different brushes. I tend to use a very simple brushes like a hard round brush. But I also like to take some texture. Russia's as you can see as it did for the hair. Also, when we talk about the darkest dark, we have to think about the lightest light, which is the brightest point off light on your face. And usually the brightest point is the point where it got directly hit by light, and now I go back on my darkest darks. As I said, Right, so we work in the darkest points, and it's just a back and forth off painting light and painting shadow. And do you remember the contour lines we did before? Those are helping us right now because we know there is a form change happening over the lip when you try to make a great portray or when you want to capture Look off faith. Usually the ice play a big role in this. That's why I like to tend to use little bit more time on painting the ice more detailed than everything else in the face. They can tell a lot about the feeling off the person and also how the person is actually behaving in this situation, where you capture the essence off the face. Also step by step, I lower the capacity of to sketch more and more because the more I refined my painting, the more I can pay. Take the sketch away and trust the shapes I create. Sometimes I just put the sketch away just to see how far I am in a painting and bring it back. You can easily just do it by clicking little eye logo next to the layer. I would recommend to you guys really go from dark to light or light to dark star with the darkest darks. Or start with the lightest light, the traditional painter and early days. They actually always work from dark to light, but in digital we are free. That's the great thing about painting digitally, so now we zoom a little bit closer, and we actually take the sketch away, and we start to refine our silhouette. So go back to the layer we created first, where everything is clipped to and start to clean up those edges. Take a moment and look at your reference. Look at where you can find hard edges and look at soft edges, usually on the cheek or on the chin. We have hard edges, and then we have a transition into a soft. Try to find hard and soft edges around your silhouette and then try to making the same as you have them on the reference. You can also do this at the end of two portrait. So if this may be too hard for now to see for you, just continue painting on the face, values inside off the portrait and think about big masses and try to refine it. Really have patients. It's mentioned as before. I only use the hard and soft from brush. I will also upload a brush back for you guys in the project. Fats. I flipped the image now to see mistakes off my painting. For this again, go on image, image, rotation and flip canvas horizontal. Would you really enjoy about his progress? Instead, you actually worked like a sculpture. You try to sculpt out all those planes and all those masts and you don't have to think about color. You only can focus on the values and don't get distracted by colors. We flipped image again. Now I take the background the way to check my silhouette, bring in the sketch and to see if I forgot something. And I know when a zoom in a little bit more. You also may be recognized that your brush goes smaller and smaller. The more refined you go. This is a very organic process, which is also very common in traditional painting. Again, I took to sketch away and now I took another rush and I want to shape my forms a little better. So at this point, we about more than an hour painting on this face and I'm still not happy. I think I can push the values and I can push the form a little bit more to blend my values . I used this much toe for this. You just press s or go on the finger I can on the left to bar with justice much toe and select a soft brush, and then you can smudge and blend your values in between very easily. And do you remember what I told you about hard and soft edges on the silhouette? Now we can slowly start work on our soft and hard edges inside the face because we also have hard and soft edges there. See, for example, the transition from the nose to the forehead. There we have very sharp edge, but when you see how the nose transitions downwards to face in the middle of the nose, we actually have a soft edge. 5. 5. Finishing the Rendering: Hey, it's officially halftime, so I'm happy that you made it that far. We still have to finish our grayscale painting, their system edged work we have to do and some form work. It's still not done yet, but we will finish it now. At a certain point, we took the background away because I wanted to show you that it's important that you see your silhouette very clean and clear. And also we want to create a very nice contrast. And having the white as a background with our grace helps us to see what is actually a nice value shift on our portrait. Also, as we talk before, the darkest darks are very important. But keep in mind, there's no complete black in every image you paint. If it's in color on grayscale, make sure there's no complete lack. What I mean by this is a complete zero on the color scare, because in real life there's nothing as complete darkness because darkness is just absence off light and the only location confined. This is space. Also, remember what I said about ice? They can bring the soul off the person to the viewer, so make sure you spend enough time on working on the ice. I hope you have fun. So far, I have a lot of fun doing this. You see, the face comes together more and more and more, and the more time we spend, the better it gets. Also, if you're unsure, what kind of look you want to achieve with your artwork may be looking other artists. Look how they tackle portrait painting. Look how they use their brush, what kind of rush strokes they do and maybe try to use it for your own. Don't copy them. Don't be a copycat, but try to analyze it and use it for your own artwork. I decided that I want to go for a realistic painting, but I also want to have a little bit off stylization it. So that's why I decided to have some off straight lines. Also, keep some off. My brush talks in them to have a little bit off this rough look which, because I really like it and also you will see in the color stage that I choose some colors which are a little bit more saturated, unusual to match the style of my rendering. - I do a little bit off edge work on the silhouette, and I also try to adjust a little bit off the color because I don't like to shape. And the shape was not very clear to me, and I like clarifications. So that's why I worked on it a little bit more. What is also great about this method is in production. For example, when you create grayscale paintings or grayscale concepts, they are very quick to make because you don't have to take care about light and color and stuff. You can really just focus on the grayscale rendering. You can dissect everything very simple, and you can do variations and a lot of our director like those paintings, we do it in production that we sometimes to thumbnails and gray scale and then colorize them. So we almost done with the grayscale painting. We just do some last minute touch ups, value shifts, also some blending here and there, and then we down with the gray scale. The whole process of painting the grace care took me around 2.5 hours. I also of course, took my time with it. I would also recommend for you guys If you're not done with the grayscale painting after this video, pause it, take your time and finish the grace Get to a certain point that you really say OK, I'm happy with it. And now I want to colorize it It I don't have to be final. Okay, Okay. When it's like 80% because afterwards we got a color, is it? And if you want, you can always paint over it on top anyways, so don't be stressed. Just go ahead and finish your painting. So I hope you enjoy this painting So far I do very much. Please also make sure that you have your sketch and your grayscale painting on a separate layer so we can posted later on in the project area. So now, as the last step, take all your layers press control J to duplicate all of them and then press control e to merge all your layers. So we have all the grayscale information on one layer with the silhouette. So be ready to colorize it and finish your painting. Good work so far. See in the next video 6. 6. Direct Colour vs Greyscale: Hey, welcome back to the last but off grace can to color before we gonna color our grayscale image. I want to tell you something about direct color versus grace skating. You can start a painting in either color or gresko. It's their own choice. There are definitely no rules. However, the route you chose does have an effect on your overall process. What I personally recommend is to experiment with both, to see which one you enjoy. Better you can see here. There's obviously a difference between those two. If you start in color, for example, your entire painting is developed from the color scheme and begin a struggle with this because you have to be familiar with the color principal off color theory in order to know how to transition from the early stage two. Your final painting. You have to be more experience in this so even you can make adjustment down the line. You still have to be pretty sure off the direction you like to go with gray scale. On the other hand, you can take all the time you need to develop the lighting scenario, the volume and the weight of your subject and even expand on compositional details before you ever worry about color. So I want to tell you what kind of pros and cons see half by choosing one off each techniques, always the pro of it, you establish light and shadow faster. Shading is very hard for everyone, of course, the more complicated to shading the biggest headache. And it doesn't help that for shop is a bit of A T's, too. It gives you all these colors to truth from, But then you have to figure out which one works well together for death and shadow started on gray scale and eliminate the headache once for all the strategic in how you're painting should be laid out from the background to the middle and the foreground. Or like we did in our portrait, right? You can decide before how you religious subject, which she chills are more important. And what is the mood you're trying to set? Ask yourself these questions as your paint and continue to make tweaks while painting. One of the biggest cons off this technique is that your paintings always will be a bit too dark. I see it a lot off. Beginners doing this mistakes. In the beginning, your paintings will always be dark. The reason this happens because as a beginning, think off light as the color white and shadow as the color black. So whenever you're trying to shape something accordingly, you used the opposite side off the spectrum, and this come out very bleak and you have maybe also muddy results and money results are actually happening when you have no clear separation between light and shadow areas. Another con is actually the transition, which creates an obvious effect. You see the difference on the two faces. I show you here. Sometimes I can tell when a painting started in grayscale. It's then pretty obvious that there is a gray value still picking through, and it looks like this just one flat color applied to a blend mode. I will show you in a second how you just those blend modes. But also I want to give you guys my ultimate solution to all this. I would always say grayscale into color on Lee as the base. So when you try to do this technique, or when you choose this technique, it is fine. But also just use it as a base because you can always paint over it radiant 7. 7. Colourizing the Greyscale: so we'll come back to the last part of the whole class. So I'm super proud of you guys that you made it that far. And now we're gonna color this thing first of all. Like I said, we merged all the layers, and now we have or silhouette on one layer. And again, we want to create a clipping mask with a new layer above. We set this layer to color, and then and then we're gonna choose our base color, which will be like this. And then we start to lay in the base color. And now we see Okay, this color's actually not behaving like if we put do it on a normal layer and just painted in, right, if that's the tone you want. So for this, we do one thing we do double click on the layout. So this menu pops up and here we have this option blend if Gray and there we have those sliders here and what we're gonna do now is we press out and click on those two separate them, and now we shift. They'll slide us a little bit when we do the same thing for White. And now we shift those white parts and now you will see that actually, the grayscale takes a little more off the color information. It's still the same thing. But as I said before, we Onley want to use gray scale as a base. So now we continue painting in a little bit more gray part to give it a little bit more realistic. Look, and we also want to take a livid off a pinkish red for the parts where the blood is going through. And these parts are usually the nose and cheeks. Everything in this area and this area is a little bit more gray, just slightly in between. We're gonna smudge. Those colors are so so they're not that strong. We want to give it a little bit more realistic. Look through adding more Retz. I also decide I want to give her a little bit more of a bluish color because I saw an image of an old lady having blue hair and I like it's, I think it's really cool. So now I'm going to start to paint in this color and give it live it more of a saturated look. As I said in the beginning of the video, I wanted to give it also living more of a stylized look, and also make sure if you work on one layer and if you use your color picker, you can go on curing layer. So you only pick the colors from you cure and layer so you don't have trouble raising those and bringing those back. You don't mix them up too much, and I also want to de saturated a little bit because I felt it's a bit too saturated. Yeah, that looks great. Also zoom out a little bit more. I give the collar living off a bluish color. Now I also want to add some more. It was pinkish Retz back in here, but not so strong. Maybe you take a soft front and do it. Live it more gentle because otherwise it gets too saturated too quick. Also live it on the lips, and now we want to add a little more of blue gray to the eyes because usually they reflect the area around the face. And also, if you're unsure of what kind of color you should pick, go back to your reference and look at your reference and make sure that you would like to result. And you see, we still keep our all the effort, all the strokes we put into the grayscale image. You know, add another layer off color. It's the same thing. It's just more color living more time, spending it on the painting. And now no, we have to use as a base. You have two options. You can take this and showed you are director and then you said yes. No. Maybe all you can also spend more time now on painting it. So he created new Liam. Then you go on your main file, press control and click on it. Then you select all those three layers impressed Control E. And now you have everything on a normally, which is our base, and I'll back. We take another layer and have another clipping mask. So I know brought another reference in. That's the one I talked about with the color of their hair, which I really like. And now what we can do. We can take the normal layer, and we can also pick a living off the color here and then gently work in those colors while using a soft front brush and make sure that before you do it because I forgot it. I duplicate the whole file. So have everything on one layer. So we can pick it from this from this layer without destroying our main file. And now we can slowly working a little bit of more soft areas. And I actually like the way how it turns out because I like this kind of stylization also the stroking us. But what You can now conduce you this You can spend a little more time on painting the head and it's your choice so you can decide. Okay, you want to push it now toe to a colored image where it has a complete different look Or you can say, OK, you like to look, you keep it like this. It's completely up to you what he also conduce. We can also use different lay Ahmad's. As you can see here you have all those different Liam oats. I will not expend all of them because this will take way too long. But what is important to know that you can also use soft light layer, which is very handy. For example, when you have some reds, and you want to add some reds. You can very gently at some more Retz, for example, to her cheeks to her nose. And also, for example, when you want to change the color off their highlights because usually highlights are not white. As I said before, right, you can use too softly nail. Also, take a bluish color. No, take a take a screen. They I'm sorry not to self played just very gently gore over it. See, they get a little bit more off color information so you get away from the white also would recommend, like just paint over it, take the value and then go for this color direction and slowly painted in. 8. 8. Summary: So this is the final result off our class in this class. We talked about the research of reference and importance off reference. We then drew the face also, we made the grace surrendering and brought our rendering toe a final version. And then we directly went into colorizing it and work to live it over it. I also taught told you about the direct color method and the grace can to color method and which are the pros and cons. I hope you enjoy this class. I really enjoyed it. And I would like to see your projects in the project area. So please make sure to post your project down below in the project area and make sure that we see the grayscale version and the color version so I can see the transition. And also make sure that you may be also want to show you sketch. I'm very curious. So you can display Lie. I did it, Andi. Yeah, and I would also love to get your feedback in the review section. So if you like this class, or maybe if you don't like this class and you want to give me feedback from the next class . I'm very curious. So other than that, I wish you guys a lot of fun drawing and painting and have a great week. Bye bye.