Digital Painting: Portrait Shading | Emily So | Skillshare

Digital Painting: Portrait Shading

Emily So, 2D Artist

Digital Painting: Portrait Shading

Emily So, 2D Artist

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6 Lessons (1h 8m)
    • 1. Intro

      0:28
    • 2. Tools and Setup

      2:06
    • 3. Basic Lighting

      21:14
    • 4. Shadows

      6:17
    • 5. Full Values

      23:15
    • 6. Tips

      14:10
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About This Class

Learn the basics of shading the face, from basic flat tones to full value. This class is optimized for digital illustration tools. 

Meet Your Teacher

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Emily So

2D Artist

Teacher

I've been teaching since 2014, and specialize in digital illustration, drawing and 2D animation. I primarily work with Krita, but sometimes work in Adobe Photoshop and Animate. As a professional artist, I've mostly provided graphics for video games and illustrations for purposes such as promotional art and storyboards.

I hope you enjoy my work. Thank you for visiting! 


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Transcripts

1. Intro: Hi, everyone. I'm Emily. And in this tutorial, I'm gonna show you how to shave the face. 2. Tools and Setup: for the tools and set up. I'm using critter today. This is just a digital illustration tool You can use Photoshopped. You can use fire Apopka clip studio paint appropriate on the iPad. If you link, you could use paper, but I'm gonna be working from mid tones to lighter tones and darker tones. But you could probably still work from lighter tones into the darker tones on paper. If you really wanted Teoh, I use a synthetic 13 HD. You can use a tablet like the welcome into his draw any kind of digital illustration software for brush settings. Generally, I like to use a brush that has the size and capacity influenced by pressure. But I'm gonna do that later. Or use that later for when I shade in a full value. And then at first I'm going to use a hard edge brush that Onley changes in size with pressure for the face to start out with. You can either draw this out or used the portrait you ended up with from my first tutorial with the 3/4 view portrait. If you went through that tutorial, or you could download the stock image I've attached, that should be it for the tools and set up 3. Basic Lighting: So in this face outline, you actually want it to be to have translucency or being translucent so that you can color right underneath it and don't have to worry about messing up your line work. And also this This just keeps things pretty simple and organized. So right now I have three layers background, solid background, an empty layer for the values and the phase base or the element of the face. In case you don't know what the term value or values mean, value in the context of the drawing in the art world just means the different lights and darks. So here's like a scale or a sort of spectrum of different values, from dark to light all the way to the brightest values. Over here, values are just all the darks and the lights all the way from black to all agrees in between to the white. So all your lights and darks now, just for kind of like a more clear reference, I'm going to draw a side view. You don't have to do this right now. Well, you could if you want, but this is just to show you something. I actually got to do this exactly, Linda, with the sky over here. But it should be kind of helpful. I'm gonna mark down the areas that the light is going to hit. Let's see, you know, mark down in orange, where the light is coming down. Most of the time, the source of light is above head level, like ceiling weight, floor lamps, the sun, mainly the sun. So then you have lights coming down this way like this. Anything that has tipped a little bit upwards is going to catch the light a lot more easily than anything that is facing downwards. So therefore, I'm going to mark down areas that are probably could be highlighted. Looks that so. Forehead, bridge of nose above the upper lip. Lower lip, the chin. And then I'm gonna quickly also indicate where it's probably gonna be most of the time shaded or more shadowy down here here, upper lip below, lower lip, definitely underneath the chin. This area, especially where there's usually a shadow being cast by that space from ginger neck. What I actually like to do first is put on a bass tone on paper. I would do this really bright like like Maybe this break, but generally I like to go a bit darker when it comes to drying digitally are illustrating digitally. So I'd filling this whole area the silhouette of this figure. And actually, I'm now using my solid brush where if I just pressed down it only influence the size. Influences size and the opacity doesn't change. It's always completely opaque. So by adding this have actually added value already because it's on, it's somewhere in the middle of the scale. I mean, if you started with White like you can, but well, there's nothing wrong with starting with. Wait, I just since I did a bunch of digital illustration for a bunch of years, I I guess I grew a taste for starting from mid tones or especially darker mid tones. So if they were on paper, I probably start from this value. But since I'm not working on paper, probably dark in it, I think I'm gonna try to be need about targeting this so I'm just gonna filter it with, uh, filter, just HSV adjustment. There's probably lightness, darkness, filters or image adjustments and Photoshopped, So I will just dark in it to something like this it's part of color. Pick this. It's not actually on the darker side. It's a little bit brighter than halfway through the gray scale over here. Just expend that just so you could see a little better, Okay, To keep it a bit more straightforward. I'm not gonna be doing it in full value. Which full value just means including hard and soft edges, like like if I were to use my other brush that he usually use where I would actually account for transitions like this getting gradually, gradually brighter as it comes down. For example, for now, I'm not gonna go over that because that gets a bit complex pretty quickly. Instead, I'm going to just do flat tones, kind of like flat, so shading, like in cartoons. I'm gonna make sure I start with the mid tone, then go with brighter. You go to brain, it'll just look really jarring. It's just gonna look like like you put something on his face instead of being highlighted or some more natural lighting. Rather. So first I start start back from this value, then I think I'll just move it up not too much towards the weight, and I tested out. It's fairly low contrast, like the difference in that value from the one that I just chose is not that much. The first thing I'm gonna highlight is the forehead accounting for the hair. I'm not gonna go over the whole thing, so the hair should cast a bit of a shadow. I'm not gonna put it. Put this highlight directly underneath directly underneath the hair, but more just accounting for the shadow that he casts. So I just feel that and you fill bucket tool just to keep it straightforward. Then now the root of the nose. I mean, I usually keep it shaded in or have mid tone fill that area. So maybe it might look a little bit too, too dark if I just leave it. But for now, because I'm just using two tones right now, it might look a little bit dark, but later on I would actually want a value that is between this one and this highlight tone and the beast own. So I just did the nose and you want to make sure that you count for the surface that's facing downwards under on the underside of the nose and then I'm actually also gonna highlight the side of the nose over here and a tiny bit of detail here to account for how the light kind of gets chucked down here and up here a little bit. Then I didn't quite indicate how it it hits the cheek area, but this is, I would say, another area that you'd want to highlight something like this. I would also highly the lower eyelid, but not like all the way. Probably connect this to account for bags under the ice. Then I would actually connect the cheek area with the mouth area because this is another highlighted area. I'll try to do the same thing for the other side. Well, accounting for the sort of perspective you get in 3/4 to you, probably because, well, the light is coming from above, and probably I'm not going to see that much shade on this side. So it'll just be totally lit up on this side to the news. I'm basically turning the the mid tone, the base Mentone into shade basically because now it looks like the nose is casting a shadow and the eyes also have some depth. I would also highly over the upper, the upper eyelids and the outer part of the brow bone over here. But the inner part of the eyes, like in this area, would usually be shaded in. Then I would also highlight the lip on. Just does a small detail usually also highlight Don't here. Well, this right here like this. This area right here, this whole area over here is to me, has been the most challenging in terms of lighting. So it comes down to like the shape of this highlighted or shaded area might try to soften it over here, this curve to try to make it Well, look, quote unquote look right. But that's just also a matter of how you want to sculpt this person's face. Um And then another obvious part should be right on the chin underneath the lower lip. Here. I wouldn't highlight right on the underside over here, because by then you've got shadow hiding under there. Then another place that probably be little, at least a bit should be the jaw area. No, this I don't think we can. Really? I don't think I could make a general rule with this cause if I I think if I connect this, then it might soften the features a bit. But then probably highlight might highlight like this, but at a certain point you just have to do whatever makes it look less weird. I might even go ast's faras highlighting all the way like this much depending on how much how you want to sculpt the face or how prominent you want the cheekbones to really be. But the face could be like this for it could be just like how I just did it before. If you want it to mostly just highly, the areas that are definitely gonna be brighter. I think for now I'll just leave this area over here and there's I mean, that area is to me, has been the most challenging with how a shape of the face and how I figure out my edges are hard and hards and softs, which I'll get more into leader um, also the shaded area on the neck, trying to account for this to create a shadow. All you have to do is highlight the areas around, actually, highway away appear as well. I just feel that out, then you pretty much have that shadow underneath the chin. So it's mainly about which areas you highlight and then how you shape the edges. I might reshape this, but you can also just decide to Britain this area up anyway because it's not. It's not slanted down like that much, not as much as let's say, the underside of the nose or or like underneath the chin, let's say, but often at the root of the nose, like over here. It's usually not tip down so far that it will be that dark. But certainly there should be a difference in value between the bridge of the nose and the root of the nose. Or let's just say the rule of the nose would definitely be darker than the forehead or the bridge of the nose. As for everything else, just to and keep it, make everything look like it's a little bit more complete. I'll just go over, you know it's like that. So this this is a different value. It's brighter, but I will still go over everything else that's supposed to be highlighted. The ears could definitely be a whole separate thing, so I'm just highlighting it. A certain way. It's such an irregular organic shape that I might as well just tell you right now just copy what I do or just draw lots of ears and practice sheeting them because it's hardest to describe. Like I I wouldn't even know, like, how did how, exactly to do the equivalent of the side view or the side profile of the ear, like like a cutaway sort of thing, like like this, just the way that I did. You know, the face like this in order to help to indicate where the highlights would hit. I mean, you could do this sort of thing, but I've never done that before. I just practice drawing and shading and ears for years, and I have a pretty good idea of how it should look. Then I will put in some rough highlights on the hair, since it's not really here class, but just to make it matchup in value or values. Yeah, at this point, I have put in mainly two different values. The bass tone and the brighter highlight tone and the mid tone or the basement tone became part of the shaded areas or the shadowy areas 4. Shadows: So by taking a brighter value and putting it on top of the mid tone, we have created highlights and shadows. I'm going to talk a little bit more about the shadows or areas that you should try to remember are probably gonna be shaded. Assuming that the light source is above head level, it's gonna be underneath the eyebrows on the inner side of the eyes, like over here definitely underneath the nose, the underside of the nose and directly underneath, casting a shadow like like this in this area, usually below the cheek bones on the side over here between the cheek and the job, and the upper lip is usually shaded in as well as directly underneath the lower lip and a bit underneath the chin, I would say, and then underneath the chin on the neck, I could probably take another value and try to highlight well, actually, shade them, in this case, highlight them in the sense that I'm trying to show them to you and put emphasis on them. I would actually take this mid tone and darken in only a little bit, just so it's not not so jarring. So now we'll have three different values and put some emphasis on areas that are usually shaded in the inside, um, underneath the eyebrows to put some more depth to the eyes. Then, well, I actually, when I shade on Ernie the nose or the underside of the knows, what I like to do is keep it darker on this border between the ball, the nose and the underside of the nose so you could do something like this depends on how you want to do it. But I like to keep it looking like it's brighter. It's a little bit brighter on the underside of the nose. It's what I usually do. And remember to make sure the upper lip is usually darker than the lower lip, then the underside of the lower lip like that, and I would actually take the old basement tone and keep it. Um, well, actually, either tone would be fine. Keep it dark on the upper side of the corners of the mouth. Then I could a shame here, but probably not just I'm just not gonna cover that much area with this darker tone because we already have most of it covered by the base atone so I'm just putting a little bit more emphasis here. But I can also probably do this, and it can look a little bit more intriguing and also have a little bit more reality to it , because one thing to know when you're creating areas that are shadowy or creating shadows, often the edges of the shadows are darker in value than on the inside of the shadowy areas , like and then again put a little bit more detail to the ear. I just articulated a little bit more with different values and put some more tips to the hair. I'm just tucking on the underside of certain bits of hair or the underside of parts of the ear. Teoh help pop other parts out, so it's a combination of pulling things out with highlights and pushing things back away or in with sheeting. This, I would say, is the simplest way I can demonstrate the frequently highlighted and frequently shaded areas on the face, based off of simple flat tones or values. So just using a brighter one for highlights darker one for more usually shaded areas and even darker one for areas that are definitely darker. Then most other areas. Next I will go over areas that have usually softer shading and harder shading in other words, edges so basically full value, as in using more of the full spectrum. So this is this would make it not really not really associating anymore with solid tones, this would have again, like full value, more more realistic shading. 5. Full Values: when it comes to full value and being mindful of edges, you have to remember it's not just like a binary thing, like soft. When I say stopped, I mean, like, soft like this. When I say hard, like hard edges, it'll it would be like this. There is just no transition for less transition when the edges are hard and there is usually a softer transition with soft or more gradual transition from one value to another , like like this, for example, is softer. Just remember not to just blend things in. You have to look at how blended the areas are. No, I normally don't. I don't like to blend things in, but you could. If you want to start out that way, I think that be okay. And later on, if if it still works for you, you could do that. But I usually don't. I've heard of other professional artists not really using any kind of smudge or blending tool. I like to blend things kind of manually cortical manually by just let's say, taking one value over here and then another value over here and just I just frequently color pick the mixed colors or rather, I frequently color pick. The mixed values in this case is just values. No colors. So I take one tone and take another tone and then softly mix them together. Take the mix tone and fill in the edge is the hard edges and try to make them softer and you create a more gradual transition from one value to another. That's basically what I constantly do. So what I just demonstrated here is an example of soft edges. This is definitely one of the areas that is gonna have much softer edges. Is the cheek bone or just the general cheek area, which in my experience, has the most been the most challenging in fearing had figuring out how to sculpt it? I can hard in this again, but this brush this brush does have hard edges, but with touch sensitivity. I could still keep it pretty soft, but most of the time I don't want it to be like this soft. I want it a little bit harder than that, and I have in the past spent many hours on like painting one face and hardening and softening the cheek area many times going back and forth while looking off of a reference to try to recalibrated again and again to get it just right. So if you run into that sort of problem, I don't feel alone. It takes many hours of study. Teoh get just the right edge. Is the right hardness or softness on the edges of these areas of shade or highly, So I would soften these edges. Actually, for most of these, I would soften them. But some edges air, definitely gonna be harder than others. And, yeah, when I say full value, I mean, including more of more values, more different values and usually on the side of the news or the bridge of the nose. It's darker than the top over here, but still still pretty bright, but has to be noticeably darker. Same idea with the root of the nose up here. So you just highlighted even more the bridge of the nose. And now for actual, like Linz or actual highlights, I would highlight the ball of the nose like that and perhaps narrow down the the glint or highlight on the bridge. Another example of hard edge, I would say, is the area, especially the upper live the difference in values between the upper lip and then the skin like up of it. But that's mostly because there's definitely a different tone. It's not so much the lighting well, it's actually a combination of the lighting and the the color or the value of the lips pursues your actual skin color so that I would I would keep hard edge over here. I would say I wouldn't say it's that soft, but it's not that hard either. In fact, as I mentioned before, I would still soften all these edges. But when it comes to the the shadow casted by the hair on top of the forehead, let's say or around the face I would do. I would do harder edges for that, because usually have these three objects that air mainly that are interacting in lighting up objects. So you have just gonna come up here and do a little diagram. You have the light source, then the object that catches the late let's say, and in most cases, let's say, a surface. The surface can have whatever distance from the other object. Let's say it could be a round object on the table, at least between the objects and the surface that the shadows it's on. If these air closer together than the edges of the shadow are going to be harder, for example, the the shadow of the nose. I would say this is gonna be pretty hard. That's an actual, like directs casted shadow, and so are the shadows underneath the hair. It's But I also think if any of these objects are closer together, then the the edges of the shadows will be harder. But if they're further apart, then the edges of the shadows will be softer. But in the case of like, the cheek bones or this cheek area is gonna be pretty soft because this area doesn't have any, like, really sudden slopes in the way that the nose has like some really drastic slopes, I would say also, the the the eye sockets, the lips. There's a lot more sudden slopes, like like if you look at the profile over here, this is more of a sharp angle, and this is a sharp angle, and you look at how the light is hitting everything. Then, yeah, when the light is coming down like that, then shadows we're gonna go opposite direction of the light source and that follows with especially shadows like like this one and this one, and also possibly like if you have really deep eyes that you will definitely have the shadows be darker. I didn't quite get that much into detail with the eyes. But keep in mind that the upper eyelid does cast a shadow over the eyeballs as well as the eyelashes casting a shadow over the eyeballs. So then, to just make it more realistic, you will have a shadow on the upper part of the eyeball that's showing. And I would say this shadow, the edges could be somewhere between hard and soft. Now, because I did this for my head, this is This is relatively simple. I don't quite have a vivid idea of, like how exactly soft or hard everything is gonna be. But for the most part, you want you want to keep mostly edges a little bit softer than just like cell shading hard edges. The only edges that are gonna be that hard when your shading probably is gonna be like, for example, the glints on the eyes. Those are among the hardest edges that you will have because it's just the, um, I don't know the physics of ray tracing or lights and surfaces and stuff, but it indicates texture and shiny glossy objects tend to have glints in them, whereas the skin is a bit more dull. But if it was another wet surface than probably you, you'd see a lot more Plummer glints now. Other areas I probably highlight actually might be the they're lower lips, but then you'd also if you want to get really detailed, you'd also account for the texture of the lips, which these days even what I'm illustrating my own portrait's or people. I don't get the details, so we just leave the highlights like that. If I wanted to add a little bit more detail to the lips, I probably shaved them in like this so that you can see that it's kind of gradual going from the slit of the mouth to the outer parts of the lips can. I will probably soften this from here. I guess it's a matter of personal dish it decision. If you want to darken it more or bring it up more, I think I'm gonna choose to brighten it up a bit and we decide is so the before head area. You want to account for the brow bone and then the shadowy area and the shape of the forehead I'm keeping. I'm keeping this area over here pretty dark. Well, I would keep it dark just to give the whole head of certain dimension, making the front of the face or the front of the head feel like a distinct side to this whole object of the head, making more distinct from the side of the head. Then probably still bring this up. Then it just adds more detail to the values, but probably keep it a little bit harder on the upper edge of this area and then a little bit softer, going towards the nose and softer coming down from cheek to draw then, Actually, the area below the mouth on the sides has also been a little bit challenging to me because it's so subtle in the way that the the mouth muscles are articulated. So it's still keep this pretty great. But then also trying to account for do you muscles around the mouth and generally the tone of the lower lip kind of blends out on the sides so kind of blend that out a little bit, but still keep try to keep the lower lip technically darker than the skin tone. I'm gonna try to blend out this area as well so that it doesn't look like it doesn't look so dramatically cut through the face over here, but definitely needs to be brighter than, let's say, the neck area with how the chin is casting a shadow over the neck. So this is why, like when I did it just like this, I mean, I kept it. I tried to keep it a simple assed possible over here while trying to account for how the cheekbone relates to the jaw area. But when you do it in like full value, then you have a lot more different values going on. And of course, this is not gonna be that realistic because I'm not looking directly off of any reference. Only I should put some more full value in the nose area. Having blended this out, I well, now it's too bright for a highlight, so I'm gonna actually darken it back down and then just highlighted again, because if I get to break. There's nowhere else to go to try to highlight something like on this grayscale. So keep it like that and blend this out. But I like to keep the lower part of the nose a little brighter than the edges because that's another value or kind of shading. To keep in mind is that the light is gonna come in and then it'll it'll bounce all over the place wherever it goes. I'm not an expert retracing, but some of that light gets into the shadowy areas. Or let's just say the simplest way of explaining it. You have a you have a ball sitting on a table would say You have reflective waiting. I think the term is actually, and not only doesn't light hit directly on the object itself, it also hits the surface, which is just another object. And then the light bounces back and some of it bounces back into the other object were the light pretty much bounces back and forth? I suppose so. Then when you add reflective lighting on the underside or on the inside of shadows, then you're lighting work is gonna look a lot more sophisticated, so I could probably do same thing down here just a little bit. It's pretty subtle, but yeah, when you put stuff like that in well, to me, at least looks a bit more interesting. And you couldn't exaggerate some things about the lighting that you see. That's often what we as an audience, are sort of after. When we look at artists interpretations off what they see, even if they're illustrating from observation, they might exaggerate certain things like really like, really exaggerate the highlights. Rather, the reflective lighting underneath objects that would otherwise be totally shaded, shaded in or a shadowy like If you make this area with glowy to me, it kind of adds a little bit more excitement to the illustration, but still I don't want to get too carried away. So I need to shave this in a bit. But keep the edges but darker. Then you should look okay if I I keep it a little bit brighter on the inside here. Yeah, it'll make the lighting look a lot more dramatic as I dark in this and also thoughts popping out the jawline and the chin line over here, and I can add a little bit more pop to to the hair out from from the head or the face for compared to the face, adding more, more of a sense of depth. Yeah, basically, from here, I would say you can build out from this as a foundation, whether you're drawing other portrait's from observation were drawing it from your head. Be good to just memorize what areas would be lit up more or shaded in more, assuming the light source is above head level. Then I would say you have at least two different kinds of lighting, like above head level and below. If the lightest below basically, you could just do everything backwards, like instead of shading in the underside of the nose, you would actually like that up and then make it dark on the upper part of the news and so on. But then again, even that takes in practice. Um, but at least you have some kind of idea based off of this usual kind of lighting arrangement 6. Tips: I want to go over some tips on sheeting by talking about pitfalls that people usually running to one of them is either doing things too hard or doing things too soft or often seeing a shaded area. And all you do is just just shade shade, everything solved like oh, this area shaded, then all I'm gonna do is make sure like every edge is the same or uniformly soft or something like that. But you do need to pay attention to not only whether it's hard or soft, but how soft and how hard. Like sometimes. Maybe this this area might be really soft, but it might turned into a harder edge on this part of this edge, for example. So you have to be really attentive with how soft or hard thes edges are. And one thing to remember is that edges air, basically just areas where different values meat and they have different relationships so appear maybe it will be hard, and then down here it will be really soft or softer. Whatever it is, that definitely you'll want to study a lot. But yeah, this, for example, I would keep it a little bit harder on the nose, and definitely it's usually softer with the edginess on the on the cheek area. Another thing to note is that if you want to brighten up area, you don't have to just go more towards the white on the grayscale. Like now I'm all the way it wait, and I want to bring this up even more. I mean, this is bright enough. All it had to be was a few more notches brighter than the surrounding area or the area that it's sitting on top of. But another way to, for example, Brighton. Something is to actually dark in the area around it. So I mean, I could make, for example, this nose really comparatively light, or just like a lot greater by darkening everything in the surrounding areas. I'm going to just work gradually and make sure it doesn't look like or just keep the impression of a face at least. But, yeah, I mean, the fact that I'm saying this seems pretty obvious, but it's not about Onley making that particular area brighter or darker. It can be about the surrounding areas, just like how when I darkened the neck underneath the chin area All of a sudden, this drama area seemed a lot brighter. It seemed to pop out a lot more. So I mean, that was definitely a better example because I'm actually shading and this isn't really a shade so much. It's just a simple demonstration. I'm just simply darkening area. But yeah, to brighten up the ear or pop it out a bit more again, just it just has to be comparatively brighter compared to the areas surrounding and same idea with when you dark and something I could dark in the shadow over here by making making this area brighter, or even perhaps this area because it's close enough to it that it would look comparatively darker. So, yeah, that's so you really need to dio you don't have to go in. And really, this isn't the only way to make this darker, but could also depend on where you are on the grayscale or how close you were to black and wait, because sometimes I do this thing where I'm constantly trying to redefine everything by highlighting it over and over again. And then I end up all the way over here. I'm all the way at the white already. Then I have to reset because I can't get brighter anymore. I'm already have white than only do is just sweep over this area with dark and kind of reset. Um, maybe not that dark, but you get the idea if I wanna redefine this again, unless you wanna go back in your undo history. If I need to reshape this through highlights and I'm a white, just go backwards by shading it back down again. One last tip will go over is either keeping everything two washed out and being too freaked to dig in with mawr. Higher contrast and deeper values or possibly having values that are too dark and not really putting definition two shapes. Bari having having shapes conformed to these all these different surfaces. So when you shade don't just shade in in area and not have any shape like, for example, don't just don't just brighten up this area with, and basically you'd be flattening it out. And there's you lose that information as to how that surface is and the way that you shaped the edges off all the different areas of the different values. It matters a lot for informing your viewer how your sculpting out the forms. So let's say, for example, when people have everything to wash out. I think that what I've seen people do, that they're just too afraid. Teoh dig in with darker values. So then whenever they shade, either they don't know where to shade or exactly what value Teoh use in order to to find certain things. Well, one. You have to know what you're defining, and that's how memorizing shading down here. Underneath the eyebrows on the inside and the cheekbone area underneath the nose, underneath the lower lip and a little bit around the mouth area for the mouth muscles, you have to know where you shame first and what needs to be sculpted. And then remember the relationship between all those different parts, like which parts should be darker or darkest, and which parts should be closer to like mid tone and which parts should be highlighted. So, I would say, dig in a little bit more for with darker values underneath the eyebrows on the inside to put some word tips to the eyes and also, for example, this is important for sculpting the area around the eye and the nose because this this line right over here helps to define the difference in, like sort of elevation or the apology or the topography. Whatever the word is between this cheek area and how the noses popping out the bridge of the nose is popping up and out of the face. So that's an example of just shaping to sculpt out the face. Um, you can definitely shade this area in a bit more like the lower part of the nose and underneath the nose. Then, when it comes to sculpting the cheek, treaded at least to find the cheekbone and have that separate from the job area and also pop out the mouth area a little bit. I mean, for some people, of course, it'll pop out more than others. But it's another way to make your portrait look a bit more sophisticated. Is just noticing all the subtleties of of the structure of the face, based off of just defined by shading. Oh yeah, and of course you can. You can kind of go crazy with the shading underneath the chin, on and on the neck, and well, this I would keep it. I would actually keep it a little bit harder edged directly underneath the lower lip, but then soften it as it comes out on the sides. Areas that you want a high white I could highlight out here. Perhaps not too much, but it'll help pop out the problem. And this area. I wouldn't make it as bright as a glint. Not like the bridge of the nose for the ball knows. Yeah, definitely catches some weight. I like the lower lip, Paul the nose, Bridge of nose. If you want the upper part of the chin, perhaps even the upper part of the upper lip, but blended out. Otherwise it'll look like a milk mustache. Yeah, that one is not helping with that. So So because there should be full value. Then you start to not really need the the outlines as much. And I'm lying. Even highlight are putting reflective lighting underneath the, uh, the non stroll here. Those are my tips for shading and the pitfalls of training. I hope you had fun with this tutorial, and I hope it was helpful. And thank you so much for watching