Digital Painting: Stylized Character Portrait Painting | Janos Gerasch | Skillshare

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Digital Painting: Stylized Character 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

11 Lessons (1h 57m)
    • 1. Intro

    • 2. 01 References

    • 3. 02 Drawing the character

    • 4. 03 Light Planning

    • 5. 04 Greyscale Blockin

    • 6. 05 Finalizing the Greyscale

    • 7. 06 Colorizing the character

    • 8. 07 Refining the light areas

    • 9. 08 Refining the shadow areas

    • 10. 09 Adding textures

    • 11. 10 Finalizing the character portrait

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About This Class

In this class we will do a stylized portrait from start to finish in photoshop.

At first we will start with a sketch. After doing the sketch we will block in the portrait in greyscale as a base.
Afterwards we colorize the greyscale and we paint in the final portrait. 

I also will show you my favorite way of adding texture and pushing the portrait to a final stage.

If you work along and spend enough time, you can have a really nice portfolio piece at the end.

So enjoy the class



Meet Your Teacher

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Janos Gerasch

Join me drawing and painting


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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1. Intro: Hey! Hello and welcome back to my next Scotia class. My name is Santosh. I'm a concept artist working in video games and film, and I curently work for a company called Yoga and I create characters, environments and props on a daily basis. In this class, we will talk about stylist character Portrait's. I will talk you through the process of creating a stylized character portrait from start to finish. If you're new to my class and you, Maura, beginner and painting, I would recommend to go back to check out my other class Grace can to color. First, we will start with a quick character sketch, and I will tell you everything I know about creating those sketches. And then we jump into the painting process and I will talk you through the process. Step by step, I highly recommend to work along and really take your time in between the classes to come up with a good result and make sure to post a result at the end in the project area so I can give you feedback on it. Enough said, Let's jump into the class 2. 01 References : Hey, hello and welcome to the first part of this online class. So at first we have to do one thing, which is always very important. But most of the people don't want to do it, which is brainstorming or finding out what we actually want to draw, design or paint. So first of all, we have to come up with the story, but we want to do we wanna find usually very quick keyword to get an idea for character, and then we can take this idea and research on that idea what I usually would do. I would start a new Photoshopped file, and then I would just write stuff down like Angry, Grumpy can also write down Funny 1945 Cake Cat. Take the strongest words, go on and do a keyword research. So what I would do now I already like grumpy, for example. 1945 is an interesting direction, but I have too many World War two images in my head. So how about 1920 thinking about Al Capone and the Great Depression stuff? It's very interesting. So we take that on gangster. I think it's already working, so I already have something in my mind. It's not so complex in itself, but this would definitely work together. Grumpy Gangster 1920 What we do now, we have two different ways off approaching this. So, first of all, I would always recommend if you an artist and you want to break into the industry and you have a goal to get better and to make your own Pinterest account because you will see in the future when you become a professional and you work with clients and you need inspiration and you need reference. Definitely create your own Pinterest board because it's absolutely necessary to have real life references, which help you to convey a really authentic design. So as you can see here, for example, I have something for costume designs off pirates because I had to design a pirate in the past for freelance job, all sorts off clothing design, inspiration and every everything which is interesting for me, which can lead to a design, direction or inspiration. I save it, and this is super super easy on Pinterest, and the great thing is Pinterest small based on image researched and keyword research. So what? I mean, but added that you can start with a key word, and you could say it's gangster and then you click on one image you like for some of this, and the image research automatically gives you similar images to the one you already picked . If I would made a Pinterest board and then have this image, which I like already could keep that image and I could go on on Pinterest and gather a lot of images. And now this image is super nice. When you see the face of this guy, for example, I said Grumpy Gang said This is like a super nice base toe face would recommend create your Pinterest board and start to safe images and create your own Pinterest boards just to have your own library on the other way would basically I already did it here. You could go on Google and I wrote gangster 19 twenties and use. You can see you get a lot of images, which is also great. But first of all, what we want to do is we're going to old size and we want to select large because what we want to do, we want to make sure that all the images we collect have the biggest size in total. So if we, for example, takes something, wanna have the highest possible resolution. So always make sure you have this on large. So and we, we now want to do is we want to go through the images and what you can do, we just have to see. And I would just right click copy it. And then I would just put it on my mood board and would start to collect images. And of course, I already did it. So we don't waste too much time here for you guys. And these were all the images I collected. And so I was looking for grumpy, Grumpy Man and also wanted to have a different kind of ages. But I also want to do a stylus character. Yeah, so I don't want to do is super realistic. Heard I want to go for a more stylish character to push your design or you were painting to a certain stylization. 11 you want to think about Okay, What features off the character Do I want to push? And that's why I collect not on Lee real life reference. I also collect sculptures and I also collect things which are already little bit stylized just to see some sort of stylization which I can maybe take off what I always would also recommend us that you think about your main reference. What would be your main reference? Everything else should be aside. Reference. So what? I mean, but Atis, did you have something which you be consistent on? So let's say you have a main reference which would be maybe this guy and I also like the head position off him so that this had this kind of angle in that position. So I think that would be a very nice main reference. And then everything else should be aside reference. And what I mean by that is that we wanna have this as our main and everything else would just just help. What I like about this example is the beard and what you can Also, you can mark the stuff you like, for example, to be if I could think, like maybe him having this beard on him and not this full beard and maybe seeing more off this skin sickness. Um, also, what I also do is I look for images which can provide me with nice light set up. You have to have a clue off the light direction or the set up off occurred before you start to paint it. This image here is a really nice image in terms off lightning. I really like this light direction. He him having this Children face position, having delight come from here, which creates a super nice shadow, honest face. And then we have a second light source. But you can see here rim light and those two light sources creative, very nice contrast. And we not only have very nice shapes, but we also very interesting contrast in terms off lightning because we have some sort of warm light and some sort of cool light here, which is a more natural light. So I want you guys now to take your time. Of course, write down your keywords or make a Pinterest board, and then I want you to find at least 5 to 10 images for your character, and I want you also to decide what is my main reference, and I want want you also to have one reference for your lighting. I usually take like 15 to 30 minutes for this. It depends on how much on behalf, but usually around 15 to 30 minutes. And then I would really take my time because preparation brings out very nice result. So the more time you spend, usually the better is the end result. Otherwise, I also have ah YouTube episode. I did once on reference images and how to use them. And I would also recommend to you guys besides this class to go on my YouTube channel and check out the this video because I think for some of you may be this is helpful. And I talked there about the usage off reference images. So look now for your images, right on your keywords. Think about your character before we start, and then I see you in the next lesson. 3. 02 Drawing the character: So after we getting all reference together, we now start with the sketch. I want you guys to make sure that you don't think so much about making a pretty sketch. I want you to focus on Lee on the character. So don't try to do a super nice drawing and simultaneously create your design because this is really impossible for most beginners. And even if you're a professional, a lot of professional struggle with this. So always with the first sketch, we're gonna do a very ugly drawing. And you will also see here that my drawings I will make will look very, very ugly in the beginning. And that's on purpose. Get the concept out of your head. Did you have to make a pretty drawing? So what we gonna look here for? First, we have to think about what kind of shape design we want to give our character. And what do I mean by this? The first thing is you have usually three different shapes. Three different main shapes, which is a square circle and a triangle. And every time when I created courage, I think about okay, which shape can I give my character or which shape resembles the core of my character. In this case, for example, I took the square shape and I thought, OK, I will make a very grumpy gangster, So I want to have ah, I want to go for a solid, a little bit more buff and edgy character. So a square shape is pretty good, because usually when you take something like a square, it resembled a very solid on impression or gives a very, very solid feeling to the observer. And this method is easier for a beginner because you rather think about a shape, then get confused by stuff like anatomy and form and everything else. So you see me here now, starting with the cylinder or the head off the guy and I always tried to start with the biggest mess or the biggest shape first. So in this case it is the hat because it resembled also a part of the character. So think also about what is your character wearing? If you would decide to go for a character which is afraid or anxious, ask yourself what he or she were arm or what type of clothing is it? Is it something which is heavy, which is light is that not much? Makes it make it sense. That is someone who has a weapon. Ask you all these questions because if you answer all these questions while you do your sketch, you will come up with a good result in a very authentic result. And that's the main demand. Go. You wanna create a character which is authentic to the viewer. So you make sure that the idea you had gets communicated to the observer and you see here I do very rough indications off the facial proportions, but I don't want toe make them perfect. In the beginning, I just think about OK, this guy is a grumpy gangster. How big will his eyes gonna be? Is it more authentic if he has a big head and smaller eyes and a big job? Does it bring more the attitude of the character to the viewer? And that's all those type of questions you should ask yourself. That's why also, we don't want to make a pretty sketch in the beginning because we're gonna adjust the sketch anyways on the whole process. So I will do two sketches now which are pretty ugly day or they're not actually pretty. And then I would do a cleanup drawing because you always can clean up your drawings. And I really recommend to you guys really don't think about making a pretty sketch. I said it like twice already, but it's very important to me. Did you only think about your current in itself? Also, at some point you have to think about and what type of stylization you want to go, actually, because they're different types of sterilization. There are these types which are really, really stylized, which you can break down in very simple shapes, and they're also stylization is which are a little bit Maurin, a realistic type. And that's something I will go in destroy because for me this is very interesting. And it's something I really love to experience experience when I paint them, because what I like to do is for example, I like to do. Ah is die Allies sketch here, which is not so much stylized in itself that it's on Li that there could be a Disney character. For example, I wanted to have some something in between realism and stylization, and you will also see later on when we paint a guy that this also resembled in the painting process and also in the way we decide what type off situation we take, what type of flight we're gonna going to do on our character. Ask yourself what type of hair would like her to have. Is it someone who thinks about themselves a lot? Do they care how they look? Or is it someone who really doesn't care how they look? Do they have a nice haircut? Doesn't make sense to give them a nice haircut or doesn't make sense to give them this really wild haircut because they never get their hair cut. Best be. They don't think about that. They don't think about their own appearance. They don't really just don't care. And I see things like half example as a good opportunity to also communicate shape. You see here, for example, the hair is a little bit spiky and that's on purpose because if you have something like a spiky shape and this can communicate something like a threat or something which is maybe aggressive to the viewer and you think OK, this guy is not someone I want to mess with, and this principle works with everything you basically design. When you look at entertainment products, for example, Mordor from Lord of the Rings. Why does it? Why does it have spiky towers? Why is there no vegetation, no trees? Why does it not has any cut type of greens in the design? Because it's not a nice place. You don't want to spend your vacation there. It's a threatening place, and all these components are play a big role in communicating this design, and this also applies for character. And when you look at Curtis like the hog, for example, this is a very good example for a very solid, strong character. He's really buff, but he resembled this solid impression, and he not only has a small head and the white body, which makes him look even bigger. No, he also has had has this square shape, which again resembled solid impression and the same thing for his body. When you look at him, he's almost a square shape, and the good thing is that we on Lee do a portrait here so we don't think about the body and everything else. We just focus on the upper part which is the face and everything around the face. So it's easier to understand the concept and also to practice it because we don't have to focus on so many different things simultaneously. Time wise, I would recommend to usually take as much time as you need it. I, for example, here took 15 minutes for the first sketch, and I don't want to stress myself out too much. Of course, it depends on the situation, if you in production or if you do personal work. If you do personal work off course, take as much time as you need it. And this you want it because I think quality matters off a quantity, quantity or time in this case. And it is really important because you can always adjust and change stuff later on. So really don't stress yourself too much time wise. Just take as much time on D. I want you to have a good result at the end. So I just had the sketch, took me 15 minutes, and I will soon stop with 2nd 1 and you will see that the 2nd 1 will be even rougher than the 1st 1 because I had a lot of energy spent already in thinking about. OK, how biggest this jaw, his nose, uh, the size of his eyes ahead and all the other shapes. And on the second sketch, I just want to try something completely different. So a different shape and I already lost a little bit off my creative energy. And you have also to consider that if you do something and create something which takes a lot of energy and usually designing something drains a lot, so it really takes most of your creative energy. Then you have to be efficient and also conscious about how much time you spend. And I want to show you Where are my square shapes? So here are my square shapes in the in the head, in the nose, and also in the lower part and the sell off, all the shapes. I see why I do my sketch and I just think about okay. How much How much did I communicate? A solid shape here. I will no, start with the second sketch again. I look over my reference. Okay. What can I look at To get some sort of inspiration for the second for the second kind of style off my character. And here I wanted to go for a more spiky character. So I basically took a triangle shape and I wanted to create something which looks a little bit more in the cowboy direction. I know we decided to go for a gangster, but I just wanted to see how much I can push the direction using a triangle shape and maybe to create something which is in between to combine it later on. And you see, yeah, I do a very, very, very rough sketch. So it's super loose, and this also will Onley take almost the half off the time I spend before, As I said, Creative energy, keep it on your mind how much energy you spend. You're not a machine, we are No machines were artists, and we try to come up with good results. But we also have to manage our own creative energy and always ask yourself what type of features will make cover to gonna have. How can I play with the features? What can I do differently from the things I done before? Before I had this character which had a solid square reshape what is the opposite off you can see. I decided to go for the triangle shape. So he has this small jaw. You get the small triangle nose and his beard looks like a triangle upside down. So always think about the shape while you designed it. I also flip my image in between just to see if there is something which is look awkward or which is wrong and perspective. This is a good trick Tomb Arroyo's drawing or your painting in between just to see if you have any kind of issues here, for example, You see, I lower the I a libit because it was too high up and what I always would recommend toe. Everyone is keeping a sketchbook. And besides, this whole tutorial also always keep a sketchbook and do quick drawings. Quick little drawings. If this is really something you want to get better wanna you're into, um, keep a sketchbook and maybe do 10 to 30 minutes. Sketches. Will you just take one shape and try to make a character out of the shape you chose? - And here I do. Just last minute touch ups. This is something I really like to, for example, give the hair a little bit more black in my sketch, but this is just a a visual thing. It's nothing we you necessarily have to do. It's just a president preference, but yeah. Anyways, I already decided at this point that I will not go for something like this. It's It's a nice look. Somehow I like this. I like to drawing, and I like the direction, but it doesn't match my gangster appearance I wanted to have, and here are both sketches done in the first face, and I just wanted to show you the shape design in the second sketch. So he is the big triangle shape I kept in mind, and that's really the domain thing. That's all. All the shapes I try to think about, why I do a sketch. And as I said, I wanted to do something different to the first sketch, and I want you to decide now which sketch you're gonna choose, and then I want you also to the site. Is the sketch good enough toe paint on it, or do I have to make a clean up and I show you hear my cleanup drawing? So I basically took my sketch. Um, put another lay on top, fill it with white and Lord opacity. And I basically traced my own sketch. But I also cleaned up to shapes a little bit because I found that his cheeks are a little bit too thin and I wanted to have a more solid face. So that's why I decided. Okay, I want to go here for a more solid shape, The cylinder. And also to smoking. Everything is almost the same. I did live it less hair compared to the other sketch. Three other sketch waas. Too much cowboy looking. And now we can start with the painting and it's gonna be fun because the hard part is for me. Done. Now I can really jump into the painting part, which is the most fun for me. So work now on your sketch and I see you in the next video 4. 03 Light Planning: Hey, everyone, man, welcome back to the next lesson. So now that we've finished the sketch, we have to decide what kind off light Sendero we gonna choose for our character. And this is always very important. Did you take your time before to plan your light? That's why we're gonna do a light plan for character. So when I also prepared this already and that this is gonna be my light plan for this character. And I want to tell you why I choose this and how you can decide what kind of lightning you give your own character and why it's actually very important. So first you see here my idea I have is that my character gets hit by two light sources one light source from the upper left corner and one from the side. The first light all is gonna be very strong, which creates this diagonal cast shadow on his face and a diagonal cast shadow on the face usually gives a very dramatic and also very dynamic looked the character. This is a big part off the painting because the cast shadows will be visible in the painting and also the angles and edges you have in the painting will be there, and they give expression to review. And if you want to do a dramatic character, for example, if you then choose a light plan, which is also dynamic, it brings the whole impression off the character on the next level to the viewer. Because the problem you can have is that if you choose, for example, reference for your character, which is not lit very well or it's pretty even lit, then you can have the problem that you run into the trap that you paint something. But you really don't understand how delight is hitting the character. And there's something you have to clear first. And if you're a beginner, it's even more important because if your professional you can invent light, you can say you declare it. I get hit by top light and professional knows to Kasher is gonna be they. He or she knows that when the lights coming from the top, they're gonna be Cashel under the ice under the nose and the mouth, etcetera, etcetera. But if you're a beginner, it's really, really important that you choose your reference. You choose the right reference, and then you stay, stick to the plan. That's why it's important that you tell yourself. Andi clarify. Before you started paint what's going to be the light scenario for my character? I wanted to show you this as an example and desire from my 50 head challenge. And there are different type of flight scenarios and this one on the top left got a top light scenario. But also it got hit by light from the right side, which creates this very interesting cash shut up here and in the castle under the chin, which gives a very dynamic look because you have this dynamic angle. This guy, for example, he's pretty even lit. There is a light source coming from the top. You can see this here from the castle, but still, this whole face is almost very even lit, which comes to the result that the whole surface is pretty even. And that also means that you have tow pain to face completely even. And this is something which is very hard in the beginning to do because you have to really understand the surface you're painting and face got a lot of plain changes when you have strong cheeks, cheekbones or knows got a lot of different planes, and this is very tough in the beginning, so I would recommend to you choose a very simple light scenario for your character. Can be can be from top. It can be from every other angle, which is important that you choose a reference and you stick to the reference. If you paint your character for two or three hours and nothing is really coming out because you don't understand it, it's too tough for you and you don't have to write reference. You're gonna get discouraged and then you stop painting and you lose the fun of it. And that's not what we want. We want to have a good reference and we want to make a good plan for us and you see, yet this is basically this is also the same thing, and as here you have a top light. It's got a very clear Castro, and when you see a reference, you have to judge where's the light coming from? And what my rule of farmers that I always judge this by the date direction and the angle off the cast shadows. All the cash shows all the angles of the castles indicate where the light is coming from. And if you want to have a good painting and you wanna have clarification your painting, you have to make sure that the character get hit from the right direction by light. So where the highlights are but also where the Castros are, everything has to point out into right direction to be believable. That's why I also recommend to look for a lot of different references. Not only like three really go for 10 different reference but this reference, for example, throughout immediately because I saw that numbers like this is perfect for my character. And I don't have to go over the top with this What I can do now and you will see it here. I really just copied us. Oneto One I see. Okay, he is the light coming from top left and here's the light coming from the right side, which you see on this here and this is a really cool effect. This is actually from a very old movie and they invented this light already. So I just borrow this and put it on my own character. And it's super super simple. So don't make it tough on you by I think you have to invent it by yourself. There's something you can do if you really experienced. But in the beginning now I want you to take a reference which is very good, which is not blurred or anything. The most important thing is that the image has a very clear, clear read in terms off how the light is coming from from which direction how the light is hitting the two character into surface, that we then copy it toe our own sketch. So what I want you to do now is I want you to look through your reference. You gather before and I want you to decide which reference gonna be your main reference for the lights and area. And then I really want you to stick to that. You can have all your reference on your mood board, but make sure that everything you see here can influence your painting. But you have one main reference, which shows what type of flights and every we're gonna have. And for my painting, there's gonna be this reference here and then when you decided what you actually want to choose. I recommend you create an extra layer and then you take a red pen. And then I want you to really mark the areas where the light is coming from. And I want you also to to mark the areas where you have cast shadows, so you can then turn it on and off in between to double check if you on the right direction when it comes to your light. Because this is something I still do. Even as a professional. Sometimes you get so lost in your painting that can happen that you forget. Really? How was the actually light scenario? And that's also the reason why we plan it ahead. We planned this because these 10 minutes we're going to spend on planning or light now will say for so much trouble. Trust me. So I want you now. Go ahead, take your main reference market and also safety image. So later on, when you post your complete results, I want all all the steps in the project area to really see if there are some mistakes in between. And did you really could stay true to the routine? I just give you Make sure now to take a reference and mark everything and I see you in the next lesson 5. 04 Greyscale Blockin: So now that we finally decided how the light plan is gonna be for character, we can start with the painting. So at first, but we want to do is we want toe create a mask for character. We're gonna take the lasso tool, which you see on the side, and we're not gonna take to normal that we take the magnetic lasso tool. And this is pretty awesome because when you want to do something over sketch the Assad tool clips to the pixel off the sketch, which makes it easier to make a selection. So you see me just going over it very easy, and we want to make the selection first because we created this shape with our sketch and it is a good it's a good start to stay to your sketch into the shape you created. And in the process, we will check back in between if to shape. Actually, without the sketch is looking decent or if we have to adjust the shape later on. But this I will show you later. So first we're gonna do a selection until the day comes. There's a circle. Now we have to selection, and we created a new olia and now we take the bucket tool with fungi. Then we take a medium grey. We just fill it and I want to show you. Now how are we actually gonna do all the preparation before we start to paint? So as you can see here on the site, I have already my preparation done because it's pre recorded. I already have to PST. Obviously I'm also this piece de gonna be in a project area. So if you're unsure about something you condone over there under the class and you can look through all the layers. So at first, what we want to do is we want to create a clipping mask and that's pretty easy. You just created layer and then you press old And when this Cymbals coming, then you create a clipping mask, which means you stay inside off the shape What we want to do first, Usually what I always do when I decide, OK, I will paint this guy. I look at my reference and I will start with the tone, not with color, with the tone, because we're gonna first painted a little bit in grayscale. We not bring it to a super high detailed look in grayscale because we will paint it in color. Anyways, we only use grayscale here for preparation purpose. So we're gonna do a rough blocking in great scale, and then we're gonna go into color and we convert everything into color, and then we gonna paint everything to the final image. So what I always do. First, I start to dissect all the areas off my character, and I'm gonna tone them. So here, for example, I take the last two again, and then I start to select the areas, and then I'm going to start to fill it with the simple tone. So I decided, for example, that my darkest area off on the character will be the head to here. And this jacket and this all is almost the same tone. And that's the same year for the Butte. The face got this based on we have on the base file, and then we start to give them different tones to see Okay, what is actually working? So I toned Also face here, Bill, a little bit more. I want to try. How dark are gonna do things before I start to paint it. And this is a very good thing because you want to try it out first before you proceed with the painting. Because if you decide on something, then you paint it and then you realize this doesn't look as appealing as I wanted to have it. Then it's good that you start to plan this first what we're going to do next. This because now, as you remember, maybe we have all light plan here and in between. As I said, it's good if you do it and market, you want to check back, how is the light plan is gonna be So that was my plan. I wanted to take this kind of light scenario here and bring it to my character. That's why next, when I'm done with blocking in the main tones, I will try to do a cast shadow layer which basically is part of all the cast channels, and this doesn't necessarily mean that you have to make it perfect. But what I want you to do is I want you to also again take the lesser to look at your light plan and just go over your light plan and over the cashier you just blocked in first. And I want you to give it a very subtle tone in terms off dark area. See, this is a 10 here on the scale, which is almost back. You never want to go full black because for black is not a real thing. Zero in the scale. What means no light at all. And we don't have that on planet Earth. You only have that in space because there we don't have any light. But in all planet, you can remember that there is nothing like zero. So at least the darkest you can go is maybe a fight or something. But a complete zero is impossible. So what I want you to do is maybe to go for a 10 or 13. And what I always like to do is I just do a very small bringing off the shadow into the peace. And that never means you don't. You do have to make it perfectly. It's good if you start with something and you can always adjust that later. And also you will see when we later on go to the color stage. This will change anyways because when we give the cash out of a color, it changes the value and it changes this number. Basically, when we give it a blue, it can be that it's gonna be lighter or even darker. And then we have to adjust it anyways, when we have to cast shadow and I want to show you this before I show you the actual recording, because it is really important that you realize that the cast shadow already can given indication how the face is going to read. And you see this year without cash channel it's completely plain and we only have to sketch , right? Obviously we have to be it. But like there is no indication off light. But with the cast shadow, this tells our brain directly Where is delight is coming from? As I told you before, I want you to remember the angle of the cash shadow two terms where the light is coming from. And I said, also in my life, planning that I gonna have to light sources. We have the main light source from the other left and the second light source with right, and we start always with the main light source. The second light source would always bring that to the rial end. So every sort of room night we're gonna bring into the end. But first we will do We will bring in the main light source. And I also want to show you that we then gonna dio a little bit off light just to bring in some subtle midtown's here because we want to decide. Okay, how much lit is gonna be our face? And we still be very true to our reference and what I also to sometimes in between, I changed my image to gray scale, and it's also what you can do to change it to gray scale. And then to see how to actually how how closer to the references when we started with great with grace get anyways, it's very good. And you see also he and this image because it's a black and white film noir movie. The dark areas very, very dark in Yeah, so here, when it's like that businesses, you see, it's a three, it's almost zero. I would always step away from that because I would never do something which is under a five , actually, because it can be very, very dark, and then you have automatically to highest contrast. And usually when you have something like cash off cast shadow is dark, but you're still gonna have some balance light inside, and then you decide how much you want to show. Actually, that's then is your artistic decision. Do you want to show some details inside of the Castro or one is gonna be completely dark with without any information? Yeah. As I said, we're gonna bring in some sucked on the tones. I also just roughly place that here because I want to see Okay, I had this vision in my head that it's gonna have to start jacket and this color, and there's gonna be some some sort off a little highlight or something, which is a little bit of contrast to break this up, because I don't wanna have to completely dark. You see, the biggest party is dark that we have some atones, and the smallest is is dis white. And that's refers to this principle off big, medium small. Actually, when you have 60 30 10% this is 60. This is 30 and 10%. After bringing some mid tones, I roughly just bring in some small highlights which are part off the main light coming from the national. See, it's only on the left side of the face. It's also very small, and this is something you don't have to do. It's just something. What I usually like to do is bring those highlights here to remind me where the light is coming from and you see the face with all those small things. You know, it's still in the beginning. It looks right now, very RG because we are all over the place, right? But the face, if you would zoom out, would still read as a face, and you roughly would know where the lights coming from. I just wanted to show you that. And then that's actually hear the skin layer is the first part where we start to paint the skin and make it even know when I start to okay, When I bring some, talk some more tones inside and see this here. This is very, very, very rough and just took me really like a couple minutes to do. But I want you to do the same thing now, so I want you to take your sketch and then create is based mask. And then I want you to select all the areas out you have on your sketch. If it's the hair, if it's a hat, whatever your characters were ing, I want you to mask everything out first and decide what type of tone is gonna be if it's gonna be a darker tone was gonna be a lighter tone and do that and grayscale please keep in mind we're going to switch to call it later on in anyways. But now we want to check it in grayscale because if the values are right, the painting will look good at the end. So please proceed and do this now, and we're going to start with the painting. 6. 05 Finalizing the Greyscale: So after finishing all our preparation, we know finally can start to paint a face. The goal we have here is to bring our grace go painting to a certain point that we have a very strong base which we can colorize later on and then to finalize our character poetry. Also, the process from now on is completely sped up. Because the complete painting process took me 6.5 hours to do, I decided to tone down the background. Now because of my reference, also, the backgrounds a little darker, so we have a easier read to translate. The values from all reference toe are actually character. I also try out different things in earlier stages when it comes to my background, because I wanted to see if the things I planned or intended to do are working before I fall . Commit to color. Having a noisy background on Lee helps when it really supports your character. If it's too distracting for the viewer, the background doesn't make sense, actually, and you will see me changing the background a lot of times over the process. At this point, I turned to sketch layoff and I adjusted the whole silhouette off the curtain a little bit to fit the whole image. I wanted to see if the composition I had to mind would work, and I also added some sort off cast shadow coming from the right side. From this point on, I start to refine all the shapes inside the silhouette, which means I wanna have really nice shape design when it comes to lightning on when it comes to shadows. Also, as I mentioned, it's important that you have a very clear separation off shadow and lights sort of painting . It's not become money. Moreover, I will push my values as much as I can to have the best and crisp read I can create on my character. - I increased the darkness off the cast shadows, and I want to find a very good shape for the cast shadows, which is interesting and which also fit the shape design we plant in our sketch face. I also would constantly reworked to silhouette a little bit because I want to make the saluted as interesting as possible. You want to avoid a very symmetrical silhouette. That's why also the head of our characters tilted. I wanted you guys spend enough time on your grace, depending. But keep in mind that your creative energy will be gone after two or three hours, so make sure to set up a timer that you don't spend too much time on the grayscale pending . Just make sure that your gray scale is solid enough that we can colorize it and then paint over later on. - At this point, it's really combination off translating our reference to our character and also making sure that we have a nice rhythm off edges and nice shape control. See you that I also it's much and blend all my tones very easily together. If you want to learn more about lending, I have a YouTube video about how to blend and the four different ways on blending, so make sure to check the video out as a pro tip. When it comes to efficiency and Photoshopped and painting and photo shopped what I always do, I duplicate all my new layers. Then I control e merch all the layers together, and then I have a back up off what I just painted, and then I continue painting on one layer, and this is very helpful and to speed up the process also without having too much layers. We now zoom in and libit more to work more clothes on the face. As I said before, there's gonna be some bounce side inside of our cast shadow area. As you can see in a reference, there's some highlights in some bounce light coming from the cheek landing over the ice. But it's also never bad to zoom out in between. Just double check if the direction you're going is the right one. You can remember if you want to solve small problems, you work big, and if you want to solve big problems, you have to work small. All right, you will see me constantly trying out different brushes because I want to have a very nice brushwork and brushwork efficiency. This means I only use couple strokes to convey some sort of texture but also direction off the surface. - I also constantly flip my image in between. This is a very good trick to see any mistakes, but if you stay on something for too long, you will lose sight off the painting. At some point, I realized that here on the left side of the face is competing too much with the beard off the face. So I was trying different things, but I saw Okay, this will not gonna work out as I wanted to. So I just basically just took the shape, put it on the other side because I really like the shape. But other than that, I decided there will no help on the left side. This also makes the city a word more interesting because it's then less symmetrical. I started to like what direction to face is gonna be. So I wanted to work a little bit more on the body or actually give the body some sort of texture. So everything is equally worked on. Before we go into the color stage, - I constantly ask myself, Can I improve my painting? Can I make my portrait better? At this point, I realized I could actually play a little bit with the silhouette and with the shape, and I started to warp it, live it more because after he zoomed out, I wanted to see how is the readability. And here I had the comparison to to start into the end. So I said, Okay, I like this a little bit better when the whole character fills out the image completely. - So at this point, we are almost done with our grayscale painting. I roughly spent one hour on the full grayscale process and I want you to take at least the same time as I did. And if you come that far, I'm really proud of you. Did you push your way through this? And now we're going to start with the painting process. So I decided I have a very solid base. I like the look of the character, and I also like to shapes I created. And I think now is the right time to go to the color process and to color this guy and then bring it to a final poetry. 7. 06 Colorizing the character: So now that we've finished our grayscale image and brought it to a very solid base, we can start with the color part. For this, we're going to create a new layer above, use it as a clipping mask and select Alaia mode color. And what you see me doing now is I first stopped the face because the face is the focal point. I used the last tool, and what I will do now is I used to Grady into which you can also find under G. And I put it to color to transparency, which means when you choose that you can use one color and the other end gonna be transparent. And with this you can add very subtle gradations on the surface. And now I will start with a bass tone in the base color in between, and you see me also testing all the colors I'm using because usually face cut a lot of different subtitle color variations so on the cheeks are under the cheeks. There's a little bit off green, and it's This also depends on the reflective light or the environment around the character . So really take a closer look to your character or to your reference, and make sure that you really decide what type off color reflection through. I wanna half on the face. For men, it is pretty typical when they older and they usually have a beard and a chef shaped himself, they're gonna have some gray areas around the chin. And I want you to really be both with this. So what I mean by that is I want you to take really strong colors and just put them in and just try to find out what time off direction you know you want to go. Remember, we're going to do a stylized character part way, which means we don't. I need to be super, super realistic. With all the color transitions, we can go a little bit more over the top, which is very interesting, in my opinion. This is also the reason why I keep my colors delivered, most saturated from the beginning. So if we start with the more saturated color in the beginning and also more saturated image , we always can de saturate the image later on. Also, if you unfamiliar with the process off grayscale into color, I just want to remind you that I have my other skills. Checklist on great Kanto Color, where talk specifically about the whole process into difference between painting something in grayscale and then bring it into color, too. The process off painting and directly into color. Because you see here there's always a grey undertone under the color when you start to apply the color to the grayscale. And that's a very easy method for a beginner. Also, because you can focus on a painting part in grayscale, and then you colorize it later. You also see me adding different color to the background because I have to decide at this point, do I want my character to be in a warm environment, And that would make sense also for him because I decided that his clothing gonna be more of a cooler tone. And did I have a nice contrast off a warm environment and the cool clothing and always remember when your light source this warm. Usually your shadow color is cool and the opposite around, and after you lay in all the colors, you usually create new lay on top, which is normal, and then you start to pick the colors and Then you adjust the color a little bit on the slider to bring back to values, because you could see when I brought in the color, the values shifted a little bit. And that's also something I meant in the lesson. Before that, we keep in mind that our values structures not too dark in the beginning and not too light because when you too dark and you changed the color, this can happen that your values shift too much and also your image becomes very, very dark at some point. And this is also a big mistake the most beginners are doing because they think about the color white as light and the color black as a shadow. That's why I talked about the process off, not applying zero as a black toe, any type of painting, because then you're painting always will be too dark, and to contrast e after we laid in all the color, we can know completely focus on the real painting part, so it's now just a process off picking all the colors we have, adjusting them and then focusing on bringing our shapes to the highest point and to sell our character and don't be afraid to play around also with the different layer modes. You also could see me here using a soft light layer to just bring a little bit of a red or tone on the cheeks and under the nose. Remember all the areas where blood is more going through. You're gonna have more reds. And also the great thing about art is there are basically no roots. So if you feel like making a shadow very cool and blue and purple, that doesn't mean it is wrong because it's not problem. Your reference that comes to your own artistic choice. And I really can focus now on the whole refining process, which means I can start toe, add some little hairs, also seeing every different part off the face as a different silhouette in a different shape. And I want to emphasize two shapes I had in mind when I did to sketch from the beginning, because I really want to communicate my character when you brought so much effort in preparation to your character, all the planning to sketch the reference. You will then come to the point where everything comes together and you will realize OK now is the time really to bring every little thing out of the character to really push the idea you had in mind. And I really, really like the blues in his face and the greens and reds, and you maybe think, Well, I don't see that on my reference, but it is there. You have to really take a closer look, and this is a really great sheet created by James Gurney. You can look it up on his block, and there he shows the different areas of the face where you usually have bred parts blew past and yellow parts. And it's also very easy to create nice hash A because Harris so organic. So even if you make a line which is not perfect, it still looks very organic. So now our editor, screen Layer and I took a very light blue because I wanted to have more reflective cool light on my character. But as I mentioned before, it is always a process off adjusting because I wanted to also see how would the character look if I make the clothing a little bit warmer, actually, and make the light cooler, which is the opposite of what we had. And now, at this point, when I made his jacket delivered more black and less colorized, he reminds me living more of ah really of a comic character and debts. That's the direction I wanted to go for. And you will see at some point you really have to some feeling in your gut that, you know, like okay, that's really the direction I want to go. And then it's super easy to execute and finish it because you so happy that all the work you brought up, it's really coming to something. What I do now is one of my most favorite tricks when it comes to painting light. So what I do, I create a new layer put on linear ad and then I take also very soft brush and put it also in your Dutch at on. What you do is you take a very dark, saturated color and you can do on Lee single strokes. But delight is coming through very, very strong and very natural. I use this also a lot of at work on all my environments. I do also remember the ice are also reflecting the surrounding, so if you have a cool environment. There will be some warm or cool reflection on the ice surface at this point, I brought back in my life Planned to see now. Okay. If I would bring the rim light later on on the character, would it actually work? And how would it look just for a test? I just painted in now and to see Okay, where would it make sense to have the room light and doesn't help my image. And you will see me adjusting the light couple times because I don't try to be a perfectionist, but I really had something in my head and it wasn't working right from the get go. Also the decision off How much light to face going to receive something you can change on later I always room in and zoom out and also flipped image to not lose sight of the image I know edit some highlights and with highlights it's very special because I want you to remember that the surface which get directly hit by light who always be the surface which receives the highlight and everything else is more of a middle. And if you do this process over and over, you will see some sort of pattern in the face because usually the highlights are always at the same places in the face. When you have the same light scenario, - I like to add some texture through doing some hatching lines with the heart wrong brush, which gives a very traditional feel to the painting. As I mentioned before, I wasn't really sure how I will perceive with the background, and I also wasn't really happy with the background. The character is pretty noisy because of the brushwork, and I wasn't sure if I want to give him a real environment like a bar or a saloon or a desert or city in the back. But this also would means that we have a lot of time to spend on painting in the background . So it's a really decision, which is up to you on I thought about okay, can I add something which gives a little bit more of a story background? So I just quickly sketched and my idea. But at the end I decided not to go for that because it just didn't work out as I wanted to always ask yourself, Is your background helping your image, and if it's not the case, you don't need to do it. Just leave it white or give it a simple tone. Or maybe a simple, great Asian, but don't make it too fancy. Everything which is to text to textured too noisy will just distracted viewer from your main selling point, which is the character at this point. I really tried different things and also thought, OK, maybe he's standing at a bar or something, but all this stuff really didn't work. So at the end, I just go with a very simple, plain background for a character, and I would also recommend for you in the beginning just go for something very simple and focus more on the character. But don't get me wrong. Trying isn't bad. If you fail, fail fast, try different things, but don't spend too much time because remember to keep your creative energy in mind 8. 07 Refining the light areas: now that I decided that I don't want to have a background and they go for a complete white background. I also have to adjust the light on the character. As I mentioned before, I used for the screen layer. And then I just used white on the screen layer paint in some very subtle light gradations into the character. So either if you decide to have a background or no background, you always should consider how delight from the environment of the character reacts on the surface. So even if you go for a white background, which is totally fine, you also should consider how the white light wraps around the character to make it more pop out. And if you come this far, I'm super proud of you guys because now we at the point that we start really, really refined the character. I will also show you later on how to add texture to record er to bring the quality of a character to another level. While I'm adding new shapes, tones and colors to my character, I always double check how it looks on the small fund A in the lower left corner. - And remember, there's always bounce light, so when a service get hit by light, it bounces from the service way. So if the mouth get hit by light from the left, upper corner knows will receive some light and the same goes for the I hold all the light which hits the cheeks were also bounce over the ice, which is great because then we can give them a more dramatic look. Also, make sure to take enough breaks in between. I cannot mention this enough. This is very, very crucial to be successful on longer paintings. As I mentioned, this painting took me 6.5 hours. We still not far to the end now, so always consider you have to take care of yourself by taking enough breaks in between. Take a walk, take a bite, make a coffee step away from the painting, and when you come back, you see mistakes and you can make decisions more clear. Usually, the darkest parts in the face are under the nose nostrils to contact Cetto between the lips under the eyes, the pupils, the eyebrows and a butte and the great thing. At this point, we can really pick colors from all on painting, so we don't have to take anything from the right side and don't think about the color and value so much because everything is there now. It's just a point of pushing values from left to right. Think about the form. Think about playing change. Every plane change comes with the value change. So if it's for Miss changing, the value is changing. If you have trouble seeing if you anatomies right or not, you can always do some sketches in between. I would recommend to everyone getting a sketchbook and do some loose face sketches every day just to warm up to get anatomy. And it's a really good thing to do stylized characters because then you can push your anatomy as far as you wanted to. You don't have to be so strict with yourself. When it comes to stylized characters, it's more about shape design rather than high, realistic anatomy. That's why you can see a lot of artists doing studies characters, But the fact is that most people have trouble making good anatomy because anatomy is really , really tough to do. - I cannot copy the Shadow Wonder one as I have it on my reference because the face off my character is Children mortar left side, so have to rethink Where's the cash shadow actually on the face when the face is a little bit more turned left. This process is really cool because it's a super Alinea and be you will see that you have a lot of improvement on every character you do afterwards. The more you do it, the better you will get. You will get faster and the quality of the characters will be more. This ice. I really enjoy the stylization we have at this point. I like the painterly look we have, but also how lose the whole painting in the faces. Also, if you have trouble finding if you characters looking good or if it's going to the right direction, you can also ask your friends or your family. They don't have to be necessary artist. But most of the people have a good eye for faces because we see faces every day. So if you ask him, do you see something wrong in here? Does that look right to you? What is your opinion on that? This is always good. Don't pressurise your painting so much be open to it and ask for feedback and then you will get better. Really fast. - It is part I'm playing with the shapes on the color and on the jacket because I'm thinking about OK, how much more interesting can I make it or what can I change? Or just to make it more interesting? I also simplified his vest under the jacket to take the noise away. If you have too much noise everywhere, your eye cannot rest. So you need some points to rest, which is always good. And remember, if everything is detailed, nothing is detailed. So we mostly worked in the light area and painted all the lights in for a character. And after adjusting that in the next video lesson, we will start working all the shadows of the character because we want to push the contrast as much as we can and also to push the stylization as much as we can 9. 08 Refining the shadow areas: After refining all the light areas, we have to give the shadow areas also live it more work. At some point, I wanted to try out how it would look if we would dark into cheek area of it because it bothered me that both face site were pretty lit and I wanted to see if I can give him a more dramatic look and at some point went back to my reference, bought and looked through all my reference. And I found this reference off this guy with the head in a corner with a very nice light shape under his islet. And I wanted to try that. And this is something you can always do is going back to your reference board. Look through the reference board and as I mentioned before, taking breaks in between is good because sometimes you come back and you see something you want to work on something you're not happy about. So this is always a good thing to make enough breaks in between. Also, even that we still on a pretty for a state Shia on the character and still work pretty zoomed out because I wanted to see how the shapes are working on together. As you can see, I just do very delivered strokes, so I don't do a lot of small strokes. I try to do only single strokes and more biggest drugs. Also again, checking back my values in between put image to gray scale just to see if the value structures working after we changed light on the cheek and the last tools always great to block in quickly. Some shapes and I can't emphasize it enough, really. If you're stressed out with the peace, don't give up. Don't stop. Try to push it as far as you can. So we come up with a really nice result because you will see when you really do it and do struggle through. You learn so much and you have a nice piece, which you can put in your portfolio. And what is really a part of my working routine is that I really jump back and forth on all the parts off the face of the character because sometimes you see a little stuff you want to change or you seen issue on why you work on something else and really jump back and forth, and that's really up to you how you prefer the work if you want to finish an area or not. But I'm really like to work on everything simultaneously. And obviously when we start to change the shadow areas, we have to adjust all the light areas, live it to the areas we adjusted. - He is really the point of stylization coming into play. So we don't need to go for a super rial skin tone. Look, we can make it a little more saturated and this is really up to you. A zai mentioned before this is the linear dodge at trick I do where we put the lay on linear Chad took a soft brush and also put it on the Dutch at. Then we take a very dark saturated color and just go slightly over areas we want to colorize. Yeah, I used the last two again and add a little more volumetric shadow toe to the shadow side of the face because I felt a value structure wasn't quite right. So it could be more in a shadow and something you will see when you paint faces over and over it usually faces from far away are mostly one plane value, and you have very, very small value shifts inside those faces, which you only see when you go very close. But when you stay far away, they're almost the same value. That's why it is so easy that face painting can become muddy because usually if you're begin and you have no big clue of it, and you try to paint every single thing inside while you don't take a look over, the whole structure can happen that the whole face becomes very muddy very quick, and that's what we want to avoid. So always check your light side and your shadow side, and you want to make sure that both sides are grouped together correctly. Otherwise, you don't have a clear separation, and then you have a muddy result. - I remember at this point I had this moment where you really get this rush off positive emotions and happiness feelings, because I felt like I learned so much already again in this painting. And even if I do it as my job every day, there's always a struggle. There's always something to learn, and this never never stops. But this is also the great part about doing it. So really, if you do it, enjoy it as much as you can. Off course it can be stress can be a lot of thinking can take a lot of energy, but never forget to have fun with all the stuff you do all right and again has always a great opportunity to create really nice shapes and to create also really interesting overlaps because we want to avoid any kind off flatness in the painting . So I much, everything again to speed up the process. So I'm more more happy with the painting. And in the next lesson, I will show you how to add Texas while using photos and how we gently add them to our painting. And then we almost done with our peace, so see in the next lesson. 10. 09 Adding textures: so the next step is to add some textures. I felt that my character looked a little too pretty for a tough gangster. And then I found this photo of Tom Hardy from peaky blinders where you had the skin sickness, and I thought that would be perfect for my character. So I basically just took the photo. I could created a mask and press control I to in vitamins, and then I just over laid the mask over the face of my character. And now what we do. We take a normal brush or texture, a brush. It's up to you. And then we take white and we slowly paint in all the textures. And if you have trouble with putting in the photo, just just 11 to live that press control l opened 11 adjustment and push the slider from left to right to see what is the right value to match. And I wanted to show you that also in real time that you see how slow I paint in all the textures, because I really want to be very gentle with that. I don't want to overdo it if you put too much texture and let's get too noisy. But you see here I not only get the texture, I also get interesting color variations. So really play with that and think about what type of texture could you add. And if you're not so experienced with painting, really wait with adding textures to the end, because Texas can be very dominant. And if your paintings too noisy from the get go, you really will have problems with your whole value structures. You don't want to do that too early. We were not only a texture. Now we will also start to work living on the edges because we really come to a finishing state now, which means we will work on the edges, will double check that all the geometry, all the form changing is correct. The grouping mostly right? So we just to last adjustments on that and then we will add a little more textures again, flipping the image to see if we have mistakes and what we can adjust and do a live it more . Now is really the time to finalizing all the edges and finalizing all the shapes and silhouettes, and we want to decide where we're gonna have hard and soft edges. So now again, we're gonna take the moustache off the reference, and we will wrapped the texture of the massage over painted one. And now we just play a little bit with the layer Morton to see if we can maybe have some subtle texture is coming through. And this can work sometimes. But sometimes you have to adjust it manually. But I did hear I put it on luminosity. And then I adjusted to values. So you press control l and take up Teoh, take up the slider and then again, we mask it, control I to invert the mask. And then we painted out with White and I decided here that I only gonna have textures on the light side. And this is a very common trick under arrest, which is just deciding that you mostly have. It takes just on the light side and less in the shadow side because you have less informations, so know that we added texture. We also need to paint over living more so we want. Of course, the texture is a part of our painting, so don't just put the texture roughly on top. Also, make sure that it really fits space in the area. And when it comes to here, for example, you always need to adjust a little bit to shape the outer shape in the silhouette. And it's always a cool feature to add some small, sticky has, and this gives a little realism to the painting. I really like the subtitle Color Variations we have on his face. All the small greens and grays on his cheeks and all the blues under his eyelids come really great together. I think it's also important to mention that it's up to you if you want to add texture to your painting because we talk about stylist character portray, it's and it's not an accessory to add those textures. You can do it, but you don't have to. I always try to find ways to push my characters as far as I can also tow, push the direction off the look off the curtain as far as I can. So after staring on that character for almost four hours now, I realized that the nose needs a little bit more work and you see like it's in buildup process. We took our light reference in the beginning and I said also that you should stay very close to it, and we did, he also. But we also adjusted a little bit. So we decided that the right side is a little bit more in shadow, actually, because it just looked better. - And as I said before, that's something I always do. And that's why it's important that you pre sketch your light plan so you can really double check how the light is working on a cargo. And if you really stick close to that now, the same process again, we're gonna add some textures on the lips because I felt the lips needed delivered more work, - all right, and that's something I always do. I try to use the lamb modes and see if there's something which could work. And if not, I just adjust them manually with the level adjustment. So now I start to mess up the features a little bit because I want to tell the story that he's a guy who fights against others on a daily basis. So giving him a messed up lip or a messed up nose is a pretty good indication for that. And again, painting is so much fun. I really try to paint us much as I can on my pieces. And you should do that as well. If you took so much time to plan it, really enjoy the process off executing your plan. So this character is coming to an end. In the next lesson, we will do some less adjustments when it comes to color edges and some minor details. And then we're done with this character if you come that far. Guys, I'm super proud of you. I hope you had a lot of fun and see you in the next and last lesson. 11. 10 Finalizing the character portrait: we did it. Guys were in the final lesson for this class. What we will do now is we will do some last adjustments when it comes to color saturation, and we want to check if the values are right. Also see if all the etch work we've done so far is working out well in terms off hard and soft edges. So we deliver it, decide where we leave hard edges and soft edges so that I has a very natural and interesting flow through the image. We also will add some last minor details to maybe tell a little bit more story what I always like to do when it comes to add adding most saturation, I like to use the soft light layer and then, as you can see year, I take a very saturated red, and I bring that into a certain stage where it's really saturated and then I d saturated while using the U. N. Saturation slider, which is uncontrolled. You and we also add some more browns and grace, and we want to have a very natural transition. So what we want, we don't wanna have the skin tone to gray. We want to have a deliberate, most saturated in general because we go for a stylization. But I always wanted them to have some really interesting shifts when it comes to use in the shadows. I also had to give the lives delivered more and darkness so the value structures correct. You can always remember that contact channels are usually darkest points in the painting, which means where two areas are I'm connecting. You have a very dark etched, your very dark shadow. If you look at the reference on the left, you see that his nostrils and also the point where both the upper and the lower lip are connecting our darkest areas. And you see that I only do very small strokes because I like really the structure off all the values and all the edges so far, and I really try out if I can push a little bit more. But I know that I'm almost done with image, and it's always interesting and always good to double check the small thumbnail we have on the left to see how the shapes are reading from far away. Some of my painting strokes leavin because I really like the painterly look, I don't wanna have a too perfect. We can now give the isolated more detail because usually did a selling point. We have the highest contrast on the ice because of the reflection in the shadow area, so review automatically look at first to his eyes because of the high contrast. - Now we add a little bit more bounce light under the islet to give him more dramatic look and also to emphasize the bounce light a bit more. I also feel like I've talked now for hours and hours to you guys. But yeah, as I said now, it's really just act off refining, adding a little bit of values, a little bit of different use. That's something also, which comes with experience that you will see. The more you do it, the more you get a feeling and understanding for what you actually want to achieve. Because I had the biggest travel in the beginning that I did not know what type of look I want to achieve when I started pain faces because I was actually not aware off what kind of direction I could go with my painting and what do I like and prefer Also this process off painting a face complete is living different off all the cell shaded look you see on the Internet. Mostly when you see some very flat shading where you only have some basic colors and some simple light adjusted to it. That's some sort of cell shading. But what we do, we really painted completely face. So what? We wanted to have our all the small strokes and all the shifts and everything inside to give it a really, really interesting look. And I hope you could follow along and could really learn something. And I would be so happy if you guys would leave me a review or feet back and let me know how experience was for you. And here I had the idea. Okay, how can I convey this to relive it more? And I decided to just give him a cut on his nose, and this is very simple. I just took a dark value and I experimented, living with the direction off the stroke and shape, and this instantaneously worked pretty well as I mentioned. Think about what you can add to tell the story. Some small, minor details can really tell a story in the character. All right. Either way, I will also make this painting available as a print on my art station marketplace. So if you interested in buying that, just check out my art station profile. - Yeah , and you may be realized that I can really don't say much more. We spoke so much about making this character and we refine this character so much and all I do now it's really to make this good as possible. Zoom in, zoom out. Flip the image. I basically try to find any problems, issues things which look weird and also double check my edges to see if all my edges are as good as I wanted to have them. And yeah, that's mainly it. I added a little bit off volumetric shadow to a streak to give him a better wrap around. So he feels mawr being in space. But if you come to the stage where you feel like you don't change the image so much that you more like push two pixels from left to right. But end result is not different than you actually could stop. You have maybe nothing more to see. Or maybe just take a break if you really want to push it further. But I always see some small nuances which I can work on, like connecting those shadows and soft and cast shadow from the mouth a little bit at the tip and see a spotted that I am could add a little bit more reflective light to the hair. But you see also all the changes I'm doing right now really, really small because the paintings almost done. And it's also something I like to do is just turning delay on and off to see if that changes. I just did are good. And if that makes sense or not, - what is? Maybe a good tip also is when you go on our station and you looked through all the pieces off the artist you like and you're following and asked us, Have white you like yard what it is about the art that you really like, because then you can decide. OK, that's something I can apply to my own paintings. You could analyze, for example, how the etch work off a different artist ISS and how they decide which edges they leave soft and hard and firm. You could see how much saturation they use, how much texture they add. All this all the things we just talked about in this class, how they how they make their decisions. And then you could apply those decisions to your own work to come up with the end result. You may be like, and if you pay attention and you analyze a lot, you will crystallize out your own artistic style over time. And I just decided to add the rim light as I planned it from my reference but on Lee on the cheek and Onley on the year. So it's not too much, and it's very subtle, and we are done with the character. I'm so proud of you guys that you finish the class until the end. I hope you could learn something. You could take something away, and you are now more versatile when it comes to creating your own style, eyes, character, poetry. So that Simon for you, it's obviously to create your own status character portrait, and I hope you can follow along and you come up with a really nice result. Make sure toe post all your steps and your end result in the project area below, so I can give you feedback on it. I also made a specific brush set for you guys, which I put in the project area. And there's also the PSD with all the steps and all the images. Also, make sure to leave me a review and tell me how you like the class other and make sure to follow me on instagram YouTube or check out my patron. I also have more free content there when it comes to concept, art and painting drawing also, if you finish the assignment and you have an instagram account, feels Frito posted on instagram and tack me with my name so I can see it and also reposted and give you feedback If you think this content could be interesting for your friends also shared with them I hope you enjoy this on a lesson. I had a lot of fun making those classes. Please stay healthy. Stay inside and see you in the next online less and I'm out. Guys have fun drawing and painting by