Digital Portraits: Basic Techniques for Creating the Male Portrait | Matthew Dewey | Skillshare

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Digital Portraits: Basic Techniques for Creating the Male Portrait

teacher avatar Matthew Dewey, Writer, Writing Tutor

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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 35m)
    • 1. Introduction to Digital Portraits: Basic Techniques for Creating the Male Portrait

    • 2. Software and Tablet

    • 3. Digital Art Tools

    • 4. Layer System and The Reference

    • 5. Base and Positioning

    • 6. The Eye and Toning

    • 7. The Nose and Toning

    • 8. Skin Toning and Light VS Dark

    • 9. The Beard and Lips

    • 10. Clothing and Background

    • 11. Conclusion to Digital Portraits: Basic Techniques for Creating the Male Portrait

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About This Class

Hello fellow artist!

My name is Matthew Dewey and I am a portraiture artist. I have worked on portraits for several years but after a few lessons, I grew a knack for realism in portraiture. I am here now ready to teach you how to create better and more realistic portraits.


Portraiture is a desired art-form by any artist. To create fantastic portraits of ones loved ones and friends, developing a skill to capture a person through art. Portraiture started centuries before I time and as it has always been a brilliant art form that inspired many of the classical artists of our time. Realism in portraiture soon grew to an outstanding size as the form changed and developed to as far as hyper-realism.

In this course I will teach you how to:

  • Develop realist portraits

  • Blend skin tones

  • Paint realistic features

  • Create detailed hair and eyes

  • Paint satisfying appeal to your portrait

  • Paint realistic clothing

  • Manage proportions

I hope you enjoy this course and use it to your advantage in your art-style development!

"Art has and will always be the essence of life. Without art, we have nothing that makes life worth living."

Meet Your Teacher

Teacher Profile Image

Matthew Dewey

Writer, Writing Tutor


I have been writing and teaching for years, helping tens-of-thousands of students achieve their goals, be it completing their novel or publishing their work. Having written several novels, non-fiction books, hundreds of short stories and articles, I have studied and put into practice the best methods for writing effectively and efficiently.

In addition to writing, I am also a programmer and artist, teaching what I know on the subject and helping those interested get a headstart.

If you want to write a novel, a story that has been on your mind and not on paper for too long, my courses will not only help you start, but I will be there as well. Any work you submit, I will happily read, review. If you need professional advice or a friendly opinion, I will be there for both.See full profile

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1. Introduction to Digital Portraits: Basic Techniques for Creating the Male Portrait: Hello and welcome. My name is Matthew Dewey, and I am an artist. Of all the mediums have experimented with, the best has always been, in my case, digital art and digital art. I have the freedom to use any medium and develop my paintings. As for the paintings, I work with portraiture and assume became rather good at it. First experimenting reporter train school. I used a pencil and a piece of paper and developed a neck for the Harper Real. I'm gonna show you in this course how to do just that. Perhaps not perfect the art of Hopper realism as this takes a good year of practice and monster in the details of one's face. Happy aerial can extend further toe objects and other imagery, but in the case of this course will focus on the face. I'll run through what technology I work with, as in what tablet and software. But trust me when I say that what you learned in this course can apply anyway, not just with different software but even in physical creations of art as well are not only use digital art for its flexibility with different mediums, but also its simplicity and a handy feature. We all know the undo button, of course, another featured by as the Save Button. But I have been known not to make use food as much as I should have. I could when you right now that if your computer or device says any tendencies to crash, freeze or burst into flames that I can hire come in saving as often as you can. Enough about that. Let's talk about the content. Unlike most Internet tutorials and courses, I am not going to show you a basic part of painting and then show you the finished result with a huge gap in between. I'll go through the fundamentals of painting a face, how to use layers to position your ours nose, mouth and so much more. How to create realistic looking hair and attain a keen are for detail. We'll go through this image step, a step painting each feature as we go, and I'll be sure to make each step into your video so you can get the four idea of what is happening when I create this artwork that concludes this introduction. In the next video, we'll take a look at the program and tablet I'm working with in this coast 2. Software and Tablet: hello and welcome to a digital portraiture course. In this video, I'll be showing you what technology I'll be using throughout this course. The application that I'm using is outrage. Outrage is very useful program, which contains many tools which are found key in making digital portrait's, especially when it comes to hyper realism. Use multiple tools throughout your process, and outrage has all that I need on top of all the features that will be going through. In this course, I'll be showing you the sample tray, which I have collected many samples I use for skins. I don't know layers tray, which will have the layers to the portrait. If you don't know what these are used for, don't worry. I'll be going through them later in the course and to conclude I have the tools and I have colors, the color mix often very intuitive, helping me select key card that I want and the tools very useful, making precision strokes in my paintings. Outrage isn't the only application I would recommend. When it comes to Harper realism, however, it is the one that I'm using. Enough aren't very useful. It's for the technology or rather, software I'm using a normal computer that runs the softly but more key to the making of art . I use a tablet from work on the model of the tablet. Amusing is the into a spin tablet bottle See th for 80 I found the tablet is very accurate in the strokes that I make on the tablet as they translate to the computer All the digital artworks that I have created and will great in this course I've been using this tablet. Of course, it goes without saying that you can use any tablet you wish or any software you wish. The concepts are the main call this course. The tablet as well as a software are not free and can be attained. Orlan. You can order your tablet online from the welcome shop as well. There are traits software. You can download it from the website and purchase force more press. However, if you really have your tablet and softly or are working through physical mediums, then let's continue with this course to the next. Listen in the next Listen, I'll be going through the tools that I'm gonna using an outrage to make our portrait's that concludes this Listen, in the next video, we'll be taking a look at the tools that I'm gonna be using in this course to make the portrait. 3. Digital Art Tools: Hello and welcome to your digital portraiture course in this village. Sin will be taking a look at the tools, which I'll be using throughout this course. Help you get a better idea of how to create your portrait in a digital art studio such as this. When it comes to portrait, I use multiple tools for various uses. The skin of the portrait is very important, as it helps attain realism to what you're painting. For this, I use the spray paint tool spay print to our selector on the bottom corner. Set it to large stars. Usually our then go to my samples tray, which is down here, and select a skin color, which I'd like to work with. So let's go for something pale once I've done this, are then blamed skin tones together. How do this is with the razor toe? But likely tapping along the ages absolutely make it more transparent. And it had Blaine's easier with other color terms. Of course, this isn't only to our use for here. I would use something fine like the pencil, which they now had used to make very fun. Struck's. Mostly I would use the spray paint tool one small, but but at a sinner point. Doing here always keep very fun spaces between them, which are gradually full with different tones off a color as your notice. Or here's different turns mixed in. We have, ah, harlots who have our dogs. And of course, we have the general tone off the As you see, I've done the hot lots. I no idea the darker tones. Slowly, the hair becomes more realistic, more three D and so on to make it even more so, I would occasionally used the razor to make sure things were finer. Playing them together a bit more. Go over them once again with either spay pain. Tour the pencil. We'll discuss morning here in a later video, maybe not to the next tool we work with. We use the pin. The pain is very useful when working with ARS and also frame structures off a painting. To create ours is simple enough and with the farm pin till you get very nice curved edges, which helps keep the shape of an R. As you could see, the order correction is incredibly useful. I make, of course, use of the undo button if things don't look completely right with the IRS. I use multiple tools as well. Not only you'll. I use the fine brush, which then I would use to create the pupil, but also use the spray paint tool as well to create people. As you could see. It's rather dark, but that changes as we use our razor to make things more realistic that really large teenagers or you take a block out completely to give the impression of a reflection of light. And they are when it comes to coloring in the US, I would use what to color more than I would use oils or any other tool in the toolkit. What a color find blends in perfectly. And of course, if I want to go in to find a details with the dollar, I would take the paints, art and do lots trucks. Gradually, any more details. As I go, you'll have a study of a reference picture toe work with, which will make it much easier as well. But now this is just a sketch. We now move on to the next part of our toolkit. When it comes to making fun of details, there's no better use than the spray paint. Of course, you can make alterations if you're working with more textured media, for example, some clothes you may need texture, in which case you'll need to use your oil paints. Your oil paints work well enough to give texture dark tones they blamed world to each other as well as you could see here and for any effect that you desired to create the oil. Paints will do just that. Not all the time. Can you rely on Harper realism, but with portrait Siew confined that the is room to make some impressionistic touches. If you want, I'll tell your oil paint. You would use the pellet math, which you can use to strike things together. But more consistently, I found that using the oil paint is fantastic. Way to get the right turn for your skin. What do you have? A reference image. You want to get a matching turn if you want to go for realism. The matching turn. Actually what sells the painting? For example, if you have a turn of skin that's much darker or Lotte, you'll need to get the right turn to for the character. If your skin doesn't match than the character or the person that you're painting doesn't seem realistic. For example, of the person within, your painting is much more pale than they appear. You need to make sure that justice pale in your painting. This can be incredibly difficult with harlots, but you'll find if you mix a fleshy turn of dark property such as this one, get a large collection of it on your canvas, and then you add to it on the side. Take out your palate and you struck the what into the flesh color. You get several turns to work with another. Incredibly useful to of these tools. The only other one I would use is the felt tip in, but has the same properties as a pains also. Sometimes I don't even rely on it at all. Understood. Used the spray paint on the pencil to With all this in mind, these are the tools that I used to make Portrait's in our trade. I will make constant reference to them throughout the course. If you could fuse, However, in Tom's we are. Don't you able to notice from this video that if I'm working on the skin all most likely be working with the spray paint or the razor, and the same goes with any other section off the face that concludes this. Listen, in the next video, we'll take a look at the layers system built into my old studio. 4. Layer System and The Reference: Hello and welcome to your digital portraiture course in this list, and I'll be showing you the layers system within the art studio and how you can use it to your advantage when it comes to portrait are take full advantage of the layer system. The latest system allows me to have separate paintings going on throughout, and this way I can aided specific parts of the portrait without altering others. This comes incredibly Handley, as you don't want to, makes up what you've done right when you've tried to correct something you've done wrong. Most of the Net. I use the layers system to help create layers of skin. When these lots of lights and darks going on in a portrait, you'll have different parts of the skin, which are brighter, which parts of darker and so on. So I like to keep them on separate layers most of the time, so they last for easy management of what's a light and dark. For example, when it comes to creating skin, I'll create a base color. Let's say this doc pink of year, and then create a layer which is above it all. Being above the layer is you could see here in this bar. It means whatever paint now on this layer, which I have selected, will be above what is below. So now let's say that there's a part of the skin which is hitting a lot more directly than this part out. Then add that in your notice, Ivor, that these things are not connected. As you could see. When I change the opacity to, let's say, 50 you can see more of the skin below, and if I completely omitted from visibility, you could see this is unaltered. This is incredibly useful when working with skin, so let's return capacity back to 100 and what I do years then make use of our razor till one small and very largely stroke it until it's blended straight into the back of the skin , creating a much more the found resolution. Off with a lot and dark is ex opposing. This is a jaw line. This is a cheek burn of here, and then you leave it in words to show the shape of the hour, then back up again as you showing the void. On top of that, anything that I try to race here would say, I want to raise the back. You know, the citizen being erased until us, like the layer and then a racing is no problem at all, as you can see it now, shake the face a lot better. We have a dark side of the face. We have a lot Assad and I. Let's say this locked. It's directly on this side of the cheek. Create a second layer, are brought in the skin, turn just a touch How at this year and then another city layer where have a brought part where the cheekbone is being hit. We'll talk more about where the cheekbones and part of the faces in a later video. Again, we define it. Soon you have a more realistic face in the works before we end of this. Listen, I'm working a layer system. Are we taking a look at the reference images will be working with The reference image I'll be using is a stock photo he had taken from pixels dot com and in the next video, what we going to do is create a base for this picture. The vessel contained was to the face, but to contain a bit of the background and the head. The reason I chose this picture is the faces close up, and it uses a lot of dogs and lots. As you can see from this side of the face is dark is a lot we get to work with. Our odds are browse, and we have here and the beard over here to work with as well. Working with here on the head is no different, except it's much longer, so it can be a lot more difficult to keep a long strand. However, if you just sketch it throughout and then you use your proper razor, you should be just fun. However, this picture handles a lot of parts, which are getting interesting to work within painting such as fabric and texture. As you could see, it's a bit out of focus. We won't worry too much about that, and we can focus more on the portrait itself that concludes this. Listen. In the next video, we'll begin by creating a base for the picture and the positioning of the features 5. Base and Positioning: hello and welcome to your digital portraiture course in this. Listen, I'll be showing you how to create the base and positioning for your features of your face. We have the example portrait here. What we're gonna do is create a very Macy base, which we're gonna be working with withing in a refine it and we integrate the positioning for the features on the fix. Firstly, let's establish the color tones. The color turns within this picture are dark navy blue for the hat. We have a pale faces from shadows, but we'll just do the pale face before we move on to the docks and lots. We have a beard. We have a dark, purplish color. Here and again, we have another navy color of a much larger than that of the Beanie. Over a year, with all these turns and minds, we really degrade the portrait. As far as the background goes, we can create a background over earned to make sure things stand out a bit more. Seen as the face is encapsulated in these dark Outlands or the clothing we won't need to make the background dark to make sure the contrast is against the skin. We really have that sorted with the clothing itself. So for now I'll keep the background as a lot color. As for the background color, which I'm going to use, understood to something a lot, but also not a stark waters what I have now, because that isn't visually pleasing to see, especially for any courses. So I make it a very lot left color. I got to paint tool for a lot of background, and this is where we'll create artwork. The reason I was such as this color is because this is the general turn of the picture, as you notice is a lot of blue here in the picture, but also a lot of purple, as well as the skin that needs to be considered and with the skins considered who take the large and the dark of the blue and we'll form of purple. So I've created this level of color on purpose, not just out of random choice. Now, with the background done, I'm gonna create another layer. Select a pale turn, which will be my skin. Get the spray paint ill, and I'll start filling out where the face would be the face is pretty much sainted here. We'll leave a strong gap on the other side. Face almost reaches the bottom of the screen with the beard included. We'll include the skin part of the beard as well. Before we add the beer, we'll move on to the rest of the face and fill it out. Like so you're not has been looking at the references. A lot of square lines will fund those into the picture in the second phase of our base. Now we'll just do a estimate of where everything would be next. We'll create another layer for the clothing, however, the closing beneath the face layer as the face is the focal point of the picture, and I'll take a dark blue. So some way around mm, yeah, is my tone. And I just feel that in very quickly all these constant corrections that need to be done when working with hop realism within create another layer. I'll make this one also beneath the face, but also beneath the clothing as well. This one is definitely a dark purple is we've noticed more reddish making a lot of pink area. All right, I think that'll do just fill those in straight away and for the Beanie. The beanie is about the skin, so I will should be painted about the skin. I'll get a very dark blue out of it. I think that would be dark enough. Let's move this reference image a little bit and work on a Pini, and then we have the most simplistic base. Obviously, this doesn't look like anything off Harper real right now, but now that we've got the bass parts of it done, we just need a refinement of theories. We'll start first with Beanie. Clean up all the edges. We're so make shape in the Beanie, which is similar to that of the image area. We have a hard age year, and then things smooth out, so we'll correct that as we go. Let's fill this in a bit more, make it easier to work with many curves in like that outwards. Have you made the necessary corrections to the beanie? We'll make the corrections to the face as you noticed the face coz inwards over here so we'll make that curve present and we got the beard around this area for concern too much with the face around this area as it will be covered up by the beard. We'll keep this part reasonably straight as well. On this side, we can remove those parts, since mostly it's gonna be in shadow, so we don't have to have too many laughs on this side of the face. The clothing reaches up to just under where that I will be, but also with the Beanie is right now, so I need to extend the color a bit. So that way it reaches the end of the screen well, and take a look at the purple, the purple as its dark points. But we'll get to that later. For now, we're now. It'll strike in the purple. Yeah, moves better The old color. I found it. Now that we've got a base to work off, we can work on position. Position of the features is very similar to what we've done except world have a very top layer of the top of the layer system here. Well, great, a pin tool, which would be fantastic to use to opposition. We'll make it pure black for now, since the faces so pale we'll get up and close to the face and we'll make sure the details which are included on the face are drawn. You know, the year if you're struggling of this part we can we want on. What is known is positioning. We'll take what we see here from art land, and we have painted him as you could see you in a reference image. The Cali. The color year stops just beneath our so we can draw a lunch across the face on a separate layer, and the others will appear around here. We'll have a large I over here. Well, Angel, the shadow bridge of the nose, which gives a lot more to the right here and stops around this point of the face. A clear middle son. As you can see, the nose is centered properly in the middle. Next stage of position will be the beard. I do this on another layer as well. It's best to have as many lasers you can of thes cause you're gonna be working of thumb, and you might be distracted by the other guidelines that you've created with the nose now created in its positioning when we're going to the mouth and beard. So we have a beard, which is just around here and other that is done. We have positioning completed. As you could see, the structure of the face is more eloquent. Will work on shadows here on this side to properly round out face to this point of the year . But as for now, we have positioning where all the futures will go, such as the nose hours, our brows, mouth beard and so on. The next part of the video that we're gonna be covering is the ours, and some of the skin turns as well. Working of skin when it comes to portrait is a very, very finicky task as it is going back and forth until you get the right tone. Of course, another thing that we need to do in the next video is make sure the proper Atlante is done . So the face looks really stand out compared to the rest of the background, which is what we want. What have we done that we would just go over? Yeah, the beanie, the clothing just on the outside room. So we have a nice border to work with. We'll complete the eyes will and then we'll move on to the other futures such as the nose, the mouth that he is everything. For now, however, we've done a base and the positioning. So that concludes this lesson, and the next video we'll take a look at working more on the base and the hours 6. The Eye and Toning: Hello and welcome to a digital portraiture. Course in this lesson will be working on the skin and the hours when working. 1000 is very important to maintain thin lands around the islands before we continue. Let's create the hours on another layer here. We'll make thes that more transparent so I can see better. But I'm working with. Take a sharp outline of from pain. Enjoy the hours as follows. There's another dark line of you here, dark land curved over a year, showing the skin hanging over the island, which is very unnoticeable to some. But it is so very important for creating realism and portrait's. Now that that's done, we're gonna create a layer beneath this one and we're going to create. Ah, what of the huh? We'll use the spray paint tool first and just fill out the border. This will be the main part of the ah that I'm working on with. This layer will merge any other layers that we need to. But for now, this is right where I needed to be. Okay, the second layer. Now to go on top of that, choose a pinkish color to show where the skin will be, it's think, slightly more red than that. That's perfect. Begins around here again. We'll border just right. We'll change the opacity to something a bit more translucent. Let's say about Let's say about Cimini. Make the reason a very fun point, and we use it to cut in the reflections that you notice in the US, just very Tunney Debs was that done? Will move on. Straight to the are, as you could see, the ours open almost un realistically, as you could see that as a very wide normally, ours would be 13 about this us. But seen as the sitter focal point of this portrait, eyes are open water so we can make this job easier for ourselves. We don't need to worry about The Binky had too much. We'll focus first on creating the graze around the ours, and then we'll move on to the hours themselves. When I referred to the greys refers to the slot shadows that you may find inside. As you can see, despite in that it seems more realistic. They do the same throughout. Just Tani dabs and touches, very largely, turning it with a large. It's directly, really, really even larger. The top needs to be fairly dark training back to the gray a lot. Trump. Yeah, tank in Arctic here, Razor. He's appreciate just a bit blended into the rest of the great, which creates very nicely. Does it with softness. Make circular movements around the center because this is where the lot is 18 and most portrait you'll see. Decrease the pressure on the spray paint brush a register. A lot of circles. Thank you. Oh, noticeable Within. Take out a much darker pink. Yeah, again, with a very low pressure will lower the size. We'll add a bit of dark outline here. Two focal 20.2 shadows most especially. Have it here in the corner. Get even darker and smaller. Turn to worker on the edges like so. With that out of the way, we could move on to the base part of it in ah, which is the main center there, Seen as the are so large we're just gonna take out the spray paint percent full out just right. But more than that say that is just about her activity. We'll get the main cooler, which is like a semi dark blue, very stealing probably to fit the great turns off the picture with the spray bring into on hand. We keep sizing it until it is just big enough instead of a lips are just a little bit, um a little bit less net. Make it 41% sent to just around here. There we go. Critically raised. I clean it up on the outside during us. Does it notice? This includes the art to Rimas? Well, but we're gonna make sure it's much cleaner. Lee, take out the in campaign. What can the INGE's? The reason we use the paint brushes, it creates this mass find Turn around it. We're gonna soften it a little bit for now, but the doctor on around it emphasizes the itself, not just the watts of it. In a very found point to work with. Here we go. Now, if we don't that we go into your next layer, we go for a lot of turn, which makes up the call which is around this turn of you here. Can we take us? Pray, paint. I feel that in a bit more notice. It does lean a bit more towards this age here. Likeness. We do leave order that less on the left Saadiya Was that out of the way? We will create a black turn right down the center. Black tone is not that large. All right, now let's make slot Corrections were necessary. First of all, I believe that out age is much darker than it appears here. So add back to the outside. Was that done? I then move on to the bit of the great details on the inside. Yeah, to do that, I'll take out again the spray painter, because I want to be going over it. Another layer on top of that. Now that's done. We're taking those great turns. The doctors inside with thing will be used. Spray paint ill make it very narrow to work with. We do not dabs all around. Make lands very small. Leave lots of caps. Make sure the general lines that you're creating are leading outwards from the Are you didn't mix in with most steely turns. Let's make it a much more narrow brush, especially get steely turns around the people basically filling in the gaps. Very light touches very loud, very loud area that touches and then was the hot term Feeling a lot. Areas of the arch details again dabbing here. And they're being very, very loose with it Can make sure allowance that you create lead away from it. Okay, Shop angle. I don't have too many highlights, but especially harlots around this side of the right side is this is with a lot. It's more Get rid of that call the color, which is the large character trait used to is the base. That color is just to give life to the picture. Which is why we use a lot of tones with bases instead of darker tones Office, the large inal pictures. Shall we have these highlights? All right now I go to the very dark turns, but more bluish. So was steel ish around here, we feel in the last bits of special to narrow out any darks and lots you don't want them to be seemed to Bochy. You want to seem as if they channels in the arm, which they are. It's create more darker turns around the agenda. Really emphasized the agents. Yeah, Back turn around the age A lot of Sandy. We will do that. How Issues at the top here which were dark in the room. Knowledge is work on the rest of the are at a bit moon lot to it as narrow as you can. It's dark in the topsoil. This corner here, I noticed. That is also very dark, dark spots, you dark spots here and spots here. That's dark spots. Yeah, yeah, specially around here. Very lots trucks. Very, very hot. And I always get to the base part of it, which is gonna be the main what they are. We get our what? When we start spray painting and castrating the Be sure to keep to the shape of they are. And as to the shape of the reflection or artificial, the better moving on to the next stage, which is the eyelashes. We went on to the next stage, which is just the outline of the skin around it. When it when it comes to working of the skin, we may as well remove the borders. Now we're gonna be working if a pinkish tongue gotta make sure Justus raid as possible. So it seems human enough. We take a spray paint once more, make it a little bit bigger this time Now. Since you no longer working. Uh, we get a nice pink layer. Go in Rondonia. The pink emphasizes the delicacy of the skin around the are. We'll cover up most of it, but however, they're still hints of it that we're gonna leave behind. Make sure we get all pink around with the area of the hours. Most likely D steaks, a reference invention footage over here from now, let's put it down here next to the tools. Now, with that done, we take a dark kind of more fleshy turn. I'll take from a samples list that same, not his dog Snatch. Maybe stocks that'll do. And in the Outlands, before we created these dark allowance of Children and emphasize again, perhaps even darker than that. Now, Nick, this hot kind of grayish well, they're certainly of that around here with our lashes will be especially around this edge. Here. Sina's, We're gonna have a doctor of eyelashes. Yeah, we didn't get a faint more red here. We'll get something. Very. We get something very lot foolish. We'll get some dark flesh color. We'll get a doctor's Kim kind of now on a separate layer on your change, Their capacity to something like 50 being that all around. Be sure to created a fund line. Just around the are as much as possible. If you want, you could take their raise that you make it more percents. Just him. Check to make sure the lines onto crossing over. We are gonna leave some here. Just a the very edges. Well, there on the white. I think you need to take a slot. Pinky purple Estonia race and Lan, we're going to create a border. This border will be the very thin line with our meets. The skin. It's good for slinging a lot darker maybe, but more read Really defund on where it is in the picture, especially around this corner. These are the kind of turns you need to establish because at no time will you take a black outline. Leave it in a picture unless it is truly dark. When it comes to ignore skin turns you after work of darker skin turns and not a back up plan. It's taken razor here. Work on this edge were set out of the way. We're gonna get out him. We're gonna work on the eyelashes. Very faint dark lands we're gonna create a layer again. Well, the bottom one, we're gonna create a 30%. Let's say layoff capacity for your precision are created. A little pain starters for us to work with. Notice how the strokes then start beating the soy. We're gonna keep it at this thin layers. We work now on the bottom part of ours with that done and it takes a razor, not trump at ages. Yeah, Sport is starting to buy hamburger meat with that Now we know Needed to work off curry More dark. Turn around this area. First off a lot purple layer been created a lot. What? Lay over here Make the point just a bit more fun around this area. Yes, we do have alarmed to work with you. This will get lost in the eyebrow. I create a long strand anyway, who is what the heart of it. Because we have to let the viewer know that this is a part of the skin with a lot. It's the most edit this Kenya. And then we have the core of the are well, darken turns more on the skin of a here and here. British are gonna the party. We're gonna dark in a bit more of read to eventually get the right skin tons. But for now, they are is mostly done. We've done just that with creating realistic, uh, when we were going to the next part of the face. Let's make this layer visible again. I'm going to raise the parts with the I. We don't longer need us. I'm gonna race the gods with the US We no longer need those, and we could focus more on the eyebrow. Now browse Very swift, Blurred, like here again. We'll take you saw the spray paint and Donald two times are lashes making sure to use the rays at a dock in terms of necessary with Halutz. And he is We can add in what strokes? But it's better to leave caps for those cases. So that's did obras. - Make sure that he is on us, and fun in this area has more skin is showing as well as they be more harlots, especially around the top part but dark. And when you near this area and make sure to be some gaps to allow for texture when it comes to here having a lot of gray tones with the darker here is perfect was showing without how it should be but also showing that it's still here. The more often than not they will be a gap in an R brow, but not so much when you working with here itself. So be sure to notice when you're working with latter turns, and he that you don't have to leave a gap is better to create a much, a lot, a strand of hair. You'll say that will be the harlot, and it works effectively as well as looking very realistic. I do next to show your technique what I use when working of Here's and have harlots first, establish we all. These are dark a lot. Once you have done this, you'll be taken in a razor to it and very largely stroking in the areas we highlight to appear. Of course, change the pressure because you don't want to raise the hairs. You only want a likely turn them. So around here, top period is how much latter. So we take a razor to that. Same goes for inside. Yeah, rays were necessary. Turn it in much larger turns inside as well, and as for the inside will take some of that turns as well. Is he stroking with a foe the Keep it dark. Any other bottom? We have now worked on the eyebrow. We've worked on the eye itself. We worked on the skin around it, establishing some five points. And when you put your highlights in your dogs how to use the razor and the spray tool to your benefit when making large tears and turns toe all blame things together in honestly, that concludes this. Listen. In the next video, we'll take a look at more skin turns and working with the nose. 7. The Nose and Toning: hello and welcome to a digital portraiture course in this list and will be going through the nose and some of its skin blending first. I'd like you to take note of what I've covered before we continue this video. We did this on the previous listen, and I'm gonna show you what I did of the second. You'll notice in the image that the colors below the arm or population compared to the ones in the direct sun not much more pinkish. This is because when things are in shadow more often, they turned to a purplish bluish color. Sometimes depending on skin tones, it could be even darker to a form of black. As you could see the shadows here, you also notice from the Are that have added small or harlots along the lid like I did in the previous video with this one, the soaps to emphasize the skin edge. As you can see with Oz, there's always in a JIA, and here, and as such, there's always a harlot below and above with a lot. It's directly on top of that. I did some of the skin turning around, but I saved the rest of it for all of the less sense of rodeo. For now, however, we're gonna move on to the nose. The nose is an interesting piece in any portrait. It clearly shows the divide between large and dark, as you could sell from reference image via only that. But there's a lot of skin blending that needs to be involved to make sure it gives the right three D effect. As you could tell from this picture, you could tell this noses protruding and at the same time I need state of the right sort of separation. As you could see, there's a clear separation between the under part of the nose and the rest of the face, however, and the rest of the nurse it clearly blames straight into the rest of the skin as it moves . We need to be able to create this effect when our painting First, however, we need to take care of our markings. Let's make them less visible again. Let's say 30% and when you start by making a skin mark for where the dark begins, this is not simpler than it seems. One we could either create a lot of dark to show the dark begins or harlot with the highlighters. Personally, I like to work onto the dark first and move on to the harlot, but you could do this other way. You just got to make sure that the skin Blaine's in eventually. So let's move on to the dark. As you could see, I'm using this term for the darker color, but it's really becomes even darker than this. I make use of the spray paint to and on the skin layer. I'll do a separately, so let's get this done. We're gonna just appreciate likely will. Devil with necessary don't worry too much about what's happening right yet may not be blended in. Probably like the hours have bean. However, it will be so soon enough where they take turns a little bit lighter, more grayish, another set of layers. This time we're moving away from the shadows, who maybe towards a lot much lot of pink actual make this very close in age. We want to get the highlights destroyed, going lighter and lighter when necessary. This is more than skin turn that we're working with. A lot of the nurse will have a lot of pink this one. We can blend a bit more into the other side of the nurse. Don't be afraid to experiment of different turns because eventually you'll find something that's just right, sometimes more right than others. Very hard to match the turn without going into a color analyzer and selecting it like you would do in photo shop. All right, now, I'm gonna create a very simple line. This will be the Adlon of the nose, and we're gonna move the outline that we've created so far, just for moment. So we don't have to use it moving on to this part of the nurse, which will get even darker but also slightly larger than what we've done so far. Because we want to hint at with a lot is, as you can see, very slowly progressing towards the right skin. Tone now does get latter's that approaches this side of the face much larger than what you're currently seen. Making bit better. Let's turn this off. We no longer need a guard for the nurse. You noticed that there was a very slight purple hints. See an image. Let's take a closer look. Here we go. Position that probably Now you know that slide purple turns around the ages of the nurse. This helps further defined where the nose is at these tones here, maybe it onto the nose. We're gonna now further define it, as you can see, is the defined cut over. They take a cut of which you've already used. Let's say I think this great Every here would be very nasty use, and we've landed a bit more in gradually making a darker and darker, darker Gonna need to adjust the party of the US turning back to the skin time is this A slot aka Shadow inside here with the nostril would be We need to make this so if the stores it's better educated, like a circular area here, like I'm doing, and then sweep it back and forth. Circle sweet back and forth working outline if you need you. But this would essentially create within Australia's saving of the carry on without blend in with the nose. See, these lines are very clear. This does create a great effect, but personally I don't refer to create these lands. Try to blend it in as much as possible before moving on. It's a bit latter around the nose, which are switch too much like to turn is well, well, I think herself to find where the nose is. I won't do this too much. Will focus more on the nose area, especially around the salon. Here really creates an amazing effect. It's slapped loans. Yeah, but they asked me to nose moving on to the wristed image will blamed out the dark here but more into the skin, and they will conclude this. Listen to check out scraping tool your color palette and let's give it a slightly darker skin turn color than what we've been using. So let's take the skin tone here. I get a little bit dark about person towards more the grays. It's still keeping it feeling a lot, just colorful enough as well that we notice Kim. We work on the more pinkish part of the face, which was a Virginia. We want to create more vibrant highlights here. Garbine being more warm in this case, the skin is very appeal on. Such is a very cold looking character, but we still got to make sure that what we're working with is living and as such will add more vibrant colors. We'll keep on docks, of course, but it is important in the face to make sure there's a useful balance between where the skin is in us in the soft pink area here and the doctor purplish color city. See here it's a laugh in these contrast that creates a perfect image where the face seems more human. And if it was just the purplish year or the stark watch, as you could see, it appears in the image here already, the faces looking more lovely and more realistic. It's the small touches that really add love to painting when you take a step back and you look at it. It's great to have the darks in an image, but you also need to have the lots and the harlots of colors wells. What can create a lot of effect in your painting, and there we have the nose. The nose may stand out more on the face right now, but that's compared to the IRS, as were the rest of the bases, and the next listen will move on to the top half of the faces skin and which will blend everything in to make sure all stands incorrectly compared to the image here. Once this is done, we'll have completed the top part for the face and move on to the second heart, which include the mouse and beard. And doing so well, make any finishing touches we need to to the face. And then finally, we'll move on to the clothing that concludes its listen and I'll see you in the next video . 8. Skin Toning and Light VS Dark: hello and welcome to a digital portraiture course in this. Listen, we're gonna finish the race to the skin and turn for the blending off this portrait. So far, we've done the eyes and nose and pretty much a good amount of the face. The little half of the face is generally gonna be covered with beard, but we also get me doing the skin turns the for. Now, however, we're gonna do the skin turns mainly on the upper half, off the face. We're going to create another layer, and we're gonna begin studying of the lots out before we move on to the dock. Who's diver? Let's put in our Atlanta, which we created so we don't spend too much time turning the area where the beard will be. First time ever, we're gonna make the skin latter, take a large spray paint and we're gonna start filling it in for the darkest side will take out a turn of skin which will match this turn, which is something like this. As you can see, the face is already shaping up of the dark and not side with that of the nose which we created in the previous video is that done, will start moving on to even brought to turns of the skin as well as dark attempts. The doctor turned to be more difficult as this very turns. As you could see here, the latter turns I ever We need to work more hearts. So we make a slightly lotto turn of skin here. Even I didn't net. When we start filling in hearts, how about some mainly gonna be found under the are and on the cheekbone around the edge of the face, we can see a clear turn difference, especially here where the beard begins. Clean this up on a slightly up earlier skin. We're going to create a separate layer. The song I like to call the warming layer because it's a very small percentage of a passage e 5%. For example, when we take a bright orange around this tone, you just the pressure again to something very small, like 3% will do and we start warming the picture up. Going ever areas on the face very slightly. This may be above all layers as well. The next phase is very large, touches off a more realistic skin, turn it may be brought. What? But they are still small dispatchers now gonna be off a strip and say around here of a more fleshy turn, we'll create another layer. This time this one I have been a passage e of 20%. You get to work with the capacities after lots of practice. We're just the pressure. Just touch very warm strips about fresh here leading up to the nose. We had a lot turn you on the faces. Well, really displaying it in. We'll move on to the next part of the face, seeing as this side is gonna be raced, covered with the end, and we'll start working off the dock Now from the cheek turn recon. See, here is gonna be a lot of dark edges to show off the cheekbones and the inside of the cheek over here. But there's still a lot of turn on inside here. Mainly, we're gonna be concerned with this part of the face. Yeah, on almost hourglass shape that we need a great we can see the first part of the ah, glossy A. And now we need to develop the other part with the last shadow. Take out spray paint again, develop something really dark. Great. A new layer. The capacity will say, Do something small for now, which is 20%. And we'll begin laying out face, create an even darker there, this one. We're gonna make it 70% right? Another layer. This one, we will leave it 100%. But we will change the pressure something larger and we'll build up the darkness. It mark. Yeah. Changes to 90% capacity. State of 100 in dark hitting itches. Yeah, really too much on the Syria is that they keep our loss. Well, great. Another layer. This one is like the warming layer. But this time it's for the darkening. There make things a bit colder. 10% very low pressure and we just talk on the side of the face. Ah, the shadows, Everything. We're just seeing you for the lower part of the beard because they're not getting the base sunlight here. Let's make it 15 much better. And there we have it, the lots of the docks of your portrait. There'll be some slight adjustments that I'm gonna be making, particularly around this cheek area. Make sure it's more defined, like so dark and changes around. Yeah, and so on. And there you have it. We have the lattes and dark of the face, clearly defined with our shadows and harlots. We can then move on to the next part of our portrait, which is gonna be the mouse and beard that concludes this. Listen, In the next video, we'll move on to the mouth and beard. 9. The Beard and Lips: hello and welcome to a digital portraiture course in this video we're gonna be going through the beard here and the lips By going to the beard, we learn the fundamentals of the heart of pain t more so than you learn from Dar bras From the lips we will learn the unique fashion of which lips are done. First time ever we're gonna be starting with the hair Sina's that here overlaps ellipse here. But know that the beard and the lips will both be above all that we've created so far. First, I'm gonna merge some layers down. This will be the skin layers which I have done so far. The reason for merging them makes it better organized as well as able to interpret what has happened so far in the painting that help starts to get a better idea where everything situated as you can see and I have the frame for the face still Yeah, I have all my dogs and lots as well as the top face of the eyes merged into one, of course, have this base skin which I have done, and the clothing which will be down below. But I'm gonna leave these separated until we move on to them. Now let's create a layer above the dark turns here for the beard. When it comes to working with the, it is based to various your colors. Taking a look at the beard here that we have so far in this picture, we can see that there are multiple strands off different colors. It's based to find the primary color and full the beard out had in the highlights and docks after the primary color that I could see in years. A very dark brown about his dark Is this by throwing out to be a to the face was to fill out making seeds to the shadows, which I've created so far. So without further ado, let's begin. - I think that's a nice base for the beard. What you're gonna do now is create a dark section. Reason we keep the dark search before the highlights is because the darks can't interfere with the highlights, which will only appear on the surface of the beard if they on the surface will save them for lost. So that will be our top layer. A middle layer will be the docks ox appear mostly in the beards near the shadowy areas, which I at the ages, but they are occasionally a few dark strands within hot areas as well. So we had these in with very dark to a blackish turn, depending on the hand. - And now we move on to the third layer, which is the hearts, the hearts you take, the original color you're using in cases bomb making a little bit lighter to the point where it's almost white. Take anything. You change the pressure to something but lower when you start adding your hearts on the surface. Two stages to these outfits. The first is to show the brighter part off the current. The first is to show the brightest spot. When it comes to this kind of a. The second will be watt streaks marred streak. So the glint of a lot inside the beard when what strikes? So the glint of lot within the hay strokes. How do you want to be as mingled as possible? You don't want to develop a pattern. Random strokes, yandy go even Lata. There's some great here's that always appear and only way, especially around the top ages, as you'll notice. So now we can have clean shaven and with him clearly that's beneath the beard, and this will contain the lips. Okay, let's take another closer look at lips and focused him year in the reference. First of all, I'm going to, you know, just my lease image of we're on me these anymore. Now we create a turn with the lips will be So we get a slot British. I think it should be about this term. Just the pressure started on the new layer beneath the beard. But that done weaken our work on the docks working on the lots. Maybe not to the upper left China. Great. Yeah, distinctly different from the top. From the bottom up, you can add more to the B Indiana, the finish of this area. Just about yeah, list of shadows. And there you have it. The main portrait is complete. We've done the lips, the beard face that are blaming in the skin tones of the dark and lot that our brows everything is being touched on all hearts included. We've now created a realistic portrait off our sitter. The only thing left to handle now in this painting is of course, the clothing and the background. There are some rules to be followed with clothing, but we've covered coal part off our portraiture. That concludes this. Listen, in the next video, we'll be working on the background and clothing for this picture. 10. Clothing and Background: Hello and welcome to your digital portraiture course. And this listen will be working on the clothing and finishing off the background to our picture. When it comes to clergy members, work rate the top surface clothing, such as the Beanie on upper Layer and the clergy that's below the face will have one layer below. The clothing in this image is rather blue. However, the beanie does require but more detail as to the rest of it. For now, let's complete the beanie first before you move onto the rest of the cloning, and then we can create a background. The Beanie uses a dark Navy turn, as we can see here. Hint of gray. We'll take us spray paint, tool and fool in. Now we go even darker arcaded layer beneath this, which is just entirely black. What's your full on the small caps? Don't you see it you created here and we'll just adjust when it's a Syria tad realism to it , Doc Me Now the edges between so you can create most mindedness between the difference. Saddle Beanie looks, people on lands. So at this beanie laying out down, they were moved to the color and we'll new first to the purple scarf, which seems to your wrapped around his neck. As you could see from this image. This scarf is fairly dark, but it has its hard lights and darks as well. So let's work on that. Now. We treat this similar to the way we treat skin. This is a very broad, reddish kind of purple some way around, this time that in and we start filling in more docks. This side is more dog. So add docks. Yeah, as well. We're sad strips of darkness here on this side. As you could see, it is 12 I was sold mainly concerning at that corner, another one like this, and one more so, like that district later shop sort of angle here almost point with a lot. It's This is what the flap of clothing, which could slightly inwards going go even darker. Just you have unnecessary blamed as much as you feel would be necessary, adding as much texture as you can to the cloning. There's some light areas which will make a note of here of lot Debs moving on to even lighter Debs. These being the harlots in the cloning like. So let's continue with the docks. No, just appreciate it A little down a large section, have you here. We'll take the stock ever turned around yet as well. Just who turned on the heart of it? It is clothing. So it doesnt reflect as much skin on our for any black turns in the darkness will add The contrast makes us ever present and creating a more three dimensional look so they are can immediately recognize that these are folds. Were those out of the way we move on? To the color were two sides of the color one latter than the other? Of course, being with this is with a lot, is it? We're taking it much talk greenish blue again similar to the Beanie. Still more grayish say around here to the corner which is and lay above. Now we added in Al, it's examined the color on the lots I before I moved to the dock. As you can see, there's very much a dark strip over here, which we need to ah lot. This dark strip sort of blends into the darkness of the purple scarf, which we created, so let's create that now Now we do the same way Any dark patches are present such as year, and the folds finally take a lot of Luton. Much more narrow. Brush creates a pressure just a slightly because this is gonna be a hot. So we need to make it ever present that latter than that. Everything beyond the holiday that you see. Yeah. We're gonna go, sir. Move. Hi. Can I spread into here it It's a just pretty shepherd here as well to lowered or create extra polity. All right, let's take out the dogs again. Increase sales. Work more specifically, other points for necessary. It was dark fold. Yeah, and run here. Some doctor? Yeah, as well. True at that Indian. With that out of the way, when we were on to the second car, which is much more simple, containing only two turns that could be noticed beside for lan itself, we'll be working a lot with darks into Syria. Just the color seems to cut around this area. Here we take our main blue from where we work for replace it here, and we continue making adjustments. Sakala story, church About the lots of great so far again we'll work with that when we go over the docks as well as treatment when it see in the docks. Now move on to the final phase of the picture, which is the main bulk shoulders. And then we can do the background, the bulk of the shoulders here, and the bag is pure black. So we had that in, like so we had some curve to it. Yes, we bring it in one shoulder. Done. We've gone to the lot side. Well, outside will take the turn. That is over. Yeah, can keep it out of focus. I'm gonna knock a shopping it too much. Yeah. We want to make sure that the out of focus part is still present in this image. And there we haven't where the closing done. We've kept out of focus parts out of focus. We've made the collar shopper. We've made the scarf shop internet, and we've made the face sharper than all of it. So it all stands out a lot more against the clothing. This really adds a three d effect to make it stand out a bit more. If you want to make things more focus you want want to take your razor in hand and adjust. Appreciate you 0% and go around the edges as you do until the out of focus stands out a bit more. Before you do this, I would recommend saving all that you've done so far because this can lead to some adjustments which make a very unattractive painting. But let's do so now, if any razor, we just appreciate it. Zero. Was that done? We do create some fate, as you can notice here. Yeah. Is that a bit more of this stuff? And as you could see, it's a really popping out a lot more. Finally, let's take a look at the background Rebecca out of this pictures of brownish tone some way around these two. But seeing as we are, just, we can use whatever but can't we wish great the background. It's simple enough. You just need to create a fade like you've done with all your blending. Linda Dulin. This can opposed to create the shadow of fates so it takes something like that tone could a large pressure and just make it the entire background and work of darks and lights once, for as you could see from this picture. We've gone through many steps to create our face. We started with the base who find it. We've added in futures positioning, worked with ours, knows tones and the blending of the skin. They hear the mouth finally, in the north of the clothing and adjusting of the background. And in end, we've created a very remarkable portrait that concludes this Listen. 11. Conclusion to Digital Portraits: Basic Techniques for Creating the Male Portrait: Hello And congratulations have been completed. This course, you now have a good idea of how to complete a portrait. We have completed this painting step by a stick, starting off by finding a subject and creating the base. Having done this, we moved on to the next sequence off creations. We were fined the base positioned all the important features and worked on them. One by one, we learned how to properly blend, darken and highlight all these features to create a more realistic and satisfying portrait . Partridges. Fantastic, Artful for any artist. As people are a great focus for any picture, I'll be found its course enjoyable. And please check my profile for more content like this. Thank you for joining me decision. And I hope your future portraits are enjoyable to paint.