Digital Portraits | Creating Stylized Portraits for Beginners | Matthew Dewey | Skillshare

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Digital Portraits | Creating Stylized Portraits for Beginners

teacher avatar Matthew Dewey, Writer, Writing Tutor

Watch this class and thousands more

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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

16 Lessons (2h 11m)
    • 1. Introduction to Digital Portraiture

    • 2. 01: The Software I Use and Recommend for Beginners

    • 3. 02: Shaping the Head, Masculine and Feminine

    • 4. 03: Painting The Head Shape, Darks And Lights

    • 5. 04: Shaping Eyebrows with Expressions

    • 6. 05: Painting and Detailing the Eyebrows

    • 7. 06: Shapes of Eyes and Added Details

    • 8. 07: Painting the Eyes, Dark and Light

    • 9. 08: Shaping the Nose, Masculine and Feminine

    • 10. 09: Painting the Nose, Shadows and Highlights

    • 11. 10: Shaping The Mouth, Age Through Detail

    • 12. 11: Painting the Mouth, Light to Dark

    • 13. 12: Shaping the Ear, Small Details

    • 14. 13: Painting the Ear, Keeping the Shape

    • 15. 14: Painting Hair, Brunette, Blonde, Red

    • 16. Conclusion to Digital Portraiture

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About This Class

Hello and welcome to your Portraiture Course!

My name is Matthew Dewey and I am an artist. Ever since my early studies, I found I have a knack for portraiture. It is truly an enjoyable subject for me to work with and ultimately all the results are as satisfying as the process. Painting is a passion I truly enjoy, making realist portraits in the best way possible. Upon using art software I began painting every day, the ease of creating magnificent paintings any time of the day while I work is fantastic! The hope I have for this course is to instill the same passion by showing you how to paint a portrait, piece-by-piece, feature-by-feature!

Throughout this course, I use the software ArtRage. The purpose of this course is to show you how to create portraits and this can be done in any medium, so don't fret about not using the same software. The lessons I provide can be taken and used in any medium!

What you will learn:

  • You will learn how to shape each feature of the face

  • You will learn how to properly blend colors to create realistic skin

  • You will learn how to paint each feature, working with the darks and lights

  • You will learn how to manage each feature of the portrait

  • And in the end, you will be able to paint a fantastic portrait without the need for a reference!

  • PLUS, bonus tips along the way!

If this sounds like the course for you then don't hesitate to sign up today!

I will see you soon!

"Art is certainly a passionate career, but it is an even better lifestyle!"

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 Portraiture: Hello and welcome to your portraiture course. My name is Matthew Dewey, and I am an artist. I have doubled with many subjects and mediums over the years, but the one of the most enjoyable to paint is a portrait. Portrait's can be done in many styles, but the ones I enjoy the most are realistic or stylistic. Portrait's practicing to create a realistic portrait is not early in a press of feet, but the progress you make through practice is inspirational. I've mainly created portrait in pencil pen and through graphic design software, it is through, said Software, that I'm gonna be showing you how to shape and paint your portrait. It's feature by feature. The face is immensely complex. One must understand bone, muscle and skin how they all work together. The curves and turns that make up the face have to be taken into account when positioning, shaping and painting. So it is for this reason I'm gonna be showing you different styles off painting with the tops of each feature to help you understand and create more realistic portrait. It's in this course. I used the software art rage. It is a fantastic program, and I would recommend you use it, but the lessons that I'll be teaching could be used in all mediums, not only in graphic design software but with pencils and pains and paints. 2. 01: The Software I Use and Recommend for Beginners: hello and welcome to your portraiture course in this list. And I'll be telling you through the software that I'm gonna be using in this course when it comes to software choices, there are many that you can have. His photo shop there is girl painter. There are so many more. But the one that I use is outrage. Outrage is the one I started with God most comfortable with, and eventually it is what I used to create on my graphic designs. So I'm going to be showing you the kind of features that I use an outrage, and you can use features that are similar to that in your own graphic design software. If you're not using any software than I do recommend you, we want to the next lesson in which we shape the head. For now, these are the tools that I use when it comes to painting portrait Seiken go with two different styles. I can go for stylistic and realistic, and at the same time I could go for two different painting styles as well. I could go for extremely realistic, in which case I'll use the airbrush mostly if I show you my sample pellet. Right now, you see, I have mostly fleshy turns. With this, I can create more realistic flesh and curves in my portrait. It's with the airbrush. Those allows me some certain level of capacity that helps to create. Blending was in the painting, and they easily adjusted through my settings, part where I can go and lower the capacity or the pressure to make it even more transparent to make it easier to blamed into our colors. As you can see him, the other tools that I may use for more finer details like Hey, I would use the ink pin the ink in simple strokes such as this. I can change the colors if I go back to my sample Trey, too Dark browns for Doc, Ronnie, or for more lighter turns that mix into high lots off blondish A and so on. If I don't use this and then use a brush again, but in a much finer point, which seems to have quite a similar to result when you want to blame here together as well beyond that time may use pencils well for final details, but it's very really that I'll need to and that poor sums up more realistic portrait. It's earlier. The tool that are probably used is the erasure again at a lot of curves. I can raise it more skillfully and create more curve turned to anything that I'm painting, which again with portrait is necessary as no face is. His jacket has a brick, but we do have faces that have goes to them, so it's better to have good to our races as well. The other style that I work with is more classical, classical style. I'll just have an oil paint to, such as this one for classical portrait. So I have an oil paint tools such as this one, which allow me to create more traditional means of our portrait painting on top of it with an insta address. So that way, it'll goes in together as well. So in painting a portrait of this turn, I can go for a more classical look instead of the more realistic look. Both styles have their merits, and both can be used with confidence. First can be used to create more fictive shadows and so on. Now. I mentioned before that I don't use the layer system when working with oils. The latest system in the software is this three layers. I can create paintings above and below the painting, for example. I have now created a layer that's above the first painting that I created so far as to take an ink pen and do a large dark strokes such as this. It'll be over my picture, as you could see. However, if I create a layer below the suit and picture that I've created, I do a large dark struck and you'll see it's below it. This is the lay system that works of players. The bottom most layer on the bar is the bottom. Most layer on the painting and the highest layer will be above the Bottomley. None effect each other at all. There are do create backgrounds often enough. That way I can edit my painting and see it's a bit more sharp against this than it is against a white background. Throughout this course, I may work with one or the other. Most likely, I will be working with the lay system and airbrushing as it helps to create more realistic portrait. The lessons are mainly teaching in the schools off all those that are working with Portrait's but would like to create more realistic portrait through painting You can use these listens to help shape and detail features with the pen and pencil. But if you wanna follow the lessons exactly, it's best use graphic design software or paint. That being said, these are the tools that are used when creating all of my pieces, and these are the tools I will be using in this course that concludes this. Listen. In the next video, we'll move on to creating our portrait's first starting off by shaping the head. 3. 02: Shaping the Head, Masculine and Feminine: Hello and welcome to your portrait. Of course, in this listen, we're gonna be learning how to shape the head for your portrait. Shaping the head can often be the first challenge that any portraiture artist has to deal with. It depends exactly where the portraiture artist begins. For most artists that work with painting, you always start with the head. It is the first layer to your painting. You will then create a around it with players. You're then create features on top of that. But it all starts with the shape of the head. When it comes to portraiture through more permanent mediums that work with one layer such as a pin, you're going to start with any feature that you feel most comfortable with. Began the smart again be the head. But at the same time, you could start with the nose, the eyes, the mouth and so on. This may only be because we place your pain is where future will have to be. Otherwise, you can I have to start over or you're gonna have to deal with the mistake that you made and try to fix it. That being said, what I'm gonna be showing you in this list in how to shape here. That's anatomically correct. When I speak anatomically, I mean, not medically, but hasn this is how a face is built up. So, for example, I'm going to create a skull shape for you right now, and the skull shape will use to create our heads. The reason we're taking a look at a skull first is because it will give us a great idea of how certain sharp angles off a skull would have faked face first. Now let's create a painting that's in portrait of you. They're gonna know we have a portrait painting to work with. Now, let's take a look at this school. The skull, when working with males is similar to that of working females. There'll be some key differences that we're gonna make sure we have nailed down when we're gonna be working with a painting of each First things first. Let's take a look at the mail skull. The male skull is like any other school will have around top to it, like so is it just a nice kitsch up to the point to recreate the temples? The temples Kuvin slightly over here you noticed this in some paintings of faces, particularly lean it or even sure, the temple boat, The temple bone being one that's just above the are socket, which are around here first. Let's redo this with a more fine and brush like So we have the temple bones. Yeah, and then right here we will have our suckers. You don't need to worry. Charge about our sockets right now because it is just up to a position of the I would be You'll have the head before it will be around here, and then it just curves with the head of a year. So let's just carry out of the are suckers. For now, keep them close to the temples. This will help your position off the I as well. You don't wanna have them. Next to They are, if you work off the other, your fund that you'll get some incorrect proportions. So there we have the are soccer's. Next thing you should know that there is still part of the here that could at the back, like so so years. The front laid. But there's still this part of the skull to work with, so it might go a little bit out like so and then come in a bit. Now this is way a difference is made. There is a temple boner on the other are and another one of the most important features off a skull that some portrait artists will get to include is the cheekbone. Cheekbones are very prevalent, especially in female portraiture. When it comes to lean faces, this cheekbones sticks out like so this is where the cheek begins underneath to follow the cheekbones, follow the temple around the curve of the, are leaving in a simple space like that and then have a little notch little button on the side of head like. So let's complete this like so a sharp curve inwards. There we go. Now we have the start of a skull on the cheekbone. If a skull moves inwards until, like the top section of the John like so before we go any further that the cheekbones are one of the important bones that you need to note in her face. In a portrait, you're normally hint at the cheekbones with curves of the skin because the skull cause shows details a lot more when it comes to being anatomically correct. So if you want to show it with the face, you would realize that they are muscles, which are helping the curve remove a little bit. You must understand that there are muscles, that hard disk Irv to the cheek burn a little bit and then is the skin. So how most artists would hint at a cheekbone is through the skin turning. Actually this in the next. Listen, let's carry on. Now on, Let's carry on this for now. So we've created now the top part of the draw on the skull. Now it comes George itself. The draw itself continues from just in words of the cheekbone like so when it comes to male portraiture, the jawbone on will you go straight down for a while. Just below the front teeth and moves in was and curves the shop. Is it? Maybe it will could until it comes to the same time. And could that cup again before reconnecting? If the Joel on the other side step is especially prevalent when working with a skull, a skull from the face forward part, you can see well features would go the most important features when working with portraiture that you need to take it off is just the outer part of the head. When it comes to shaping your head, I'm just gonna create a nuclear. Yeah, I'm going to change the opacity, this layer to save 50% so we can barely see it. Now, the layer above I'm gonna show the shape of the head. The shape of the head comes down like so. No, just follow the ortolan. You don't have to worry about the cheekbone from now. You got inwards a little bit to follow the shoreline again. You follow the Joel. Are the cheekbones all the way along side? I'm gonna add a little bit more heart around it. Seen as we still have skin and muscle to include. Even then, I have followed these guidelines a little too closely. So it's gonna be a particularly lean face when it comes to position. Years. Don't be fooled by this part of the bone. The year is midpoint two hours. Most of the time, it really depends on the sitter. But if you're creating portrait from mind anyone to create realistic ones with the just around the middle part of the uh, fax. Create your nose. Yeah, you have your orders via I noticed. It's alone. Lower to the top it closer to the bottom of the eye sockets and up for the cheeks and mouth our kassid most artist to hint at the cheekbone. Some will give a slight curve, depending to love faces. Depends with a light is so that's all our include for now and then it comes to the lips. The lips will follow more closely to the teeth around here. Going further than this, we have to now work with Nick. The Nick doesn't when it comes to working with the nick, the skull doesn't really help with its spinal cord. So how you work with the neck is simple. If you have thick and next, they're more closer to the edge of the draw, the age of the Joel being the curve to it. For example, we have the Juve the jawbone, like here, and then it suddenly jolts upwards into the skull. Like so. So here's one of the curves over here, and here's the other. Just a sudden sharp turn into the curve, a little going down, down, down, shop, down, down, down shopped in, forming the jawbone a bit more. So let's clean this up to show the nick when it comes to making next game. Depends on the sitter if you wanted it specifically. But if you're working from mind, those of a thicker Nick will have a nick that's closer to the Jordan. Good, like so. If you're working within a Knicks, you'll find that a coups in more but similarly starts around the same place. This time. You don't even notice it because that it will be under the jewel. Which case you could Bitcoin was next can, of course, be much skinny as you go. But for now, let's stick with this one, in which case you just could get a bit more. One really? So that the jewell for the skinny necks you just could with a bit more inwards, so that would be around here and yeah, but let's say that we have the snake to work with. Let's clean it up a bit more. Just help the shape. When it comes to working with shoulders, I'm gonna be showing you the shoulders and their upper upper part of the chest just above or below. This case would be the out of sample, and that will be our portraiture shaping when it comes to be working with the nick you'll have, Slot goes into the shoulder like this, just above workers downwards into chased. So it'll be like so when it comes to shoulders, their short normally flatten out. But you have to realize that these air so burn just above the home area. This isn't proportionally correct, but I'm just heavy running out of space here, so this is where your arm would be. This is We're arm pass. It will be. And this is where bones such as a flat little disk, would be. If you go to your shoulder right now and you feel just above it, following your collar bone up, you'll find it could to your shoulder. But you also found a flat bone toe work with. This is the face forward. Burn some woodworking portrait's. This is the bone you'll most likely have to include into your portrait. I think so. So that's clean. His collarbone up created a much better one. Now, again, this depends on the type of person, but some people have the collarbone showing first. Let's make IDs at the Knick muscles. Some neck muscles are barely showing, such as here, some, whatever more prevalent Adam's Apple. Some will have more prevalent neck muscles, in which case you include two curves, like so these curves lead towards around a short of divot. I know the nick such as this working on that you found that is alarmed now to a collarbone that moves up towards your shoulder towards the flat disc. If we were to be more realistic with how this work will destroy another line here, curve like so Mr cooled down into a rib cage. But most of us has just flat into the chest, really, and this occurred up towards towards the flat disc. Now let's take most of us away and work with more feminine face. The recent I'll say more feminine face is because they are gonna be both sitters that are both masculine and feminine, not dependent on the gender. For example, you'll find that they are female sitters of more masculine features, and they are male sitters, more feminine features. So now let's remove this layer and make this layer visible once more increasing capacity 100 on its shape the skull, and it comes to working with more feminine features. You'll find that the skull needs to change mainly around the jawbone. That part of the area is a bit more straight forward, but this again is barely noticeable. The most notice apart when it comes to work in a feminine faces is that there's less more prevalent cheekbones opinion on the center. Of course, the's tapers normally could into it. At that moment, these faces are seemed to but more stretched in a way compared to the male face. You'll find the features being pulled back like that towards the other side of the skull. So let's fix it now. Just make shorter cheekbones. We're gonna move this draw entirely for now. I came. The cheekbone would curve. Abed Morgan Lace Shop again. It depends on the sitter. There are many females with sharp curves to the cheekbones as well. Was that done? Let's not take a look at the jaw. The draw again curves down, but this time follows the line a bit more and just here below it, much more higher than that of a male face. It curves in a lot more, much sharper and clearer angle. You'll find that in our coups in look flatter but a lot faster inwards towards the chin, the cheekbones office, the cheekbone shall not lis work. Earthy years, of course. For mainly, let's raise this drawer long following the curve of the head, one small this time, but closer to the jaw shop of more feminine Joel. Here's a normally smaller when it comes to have the features of the feminine face. They are ours and nose to work with. But we will get to us later. And if you want to hinted cheekbones again, you're gonna do this with depending on the sitter. But in most cases, you'll find that the cheekbones are lot thinner. Unless indicated, Israel curves to that of the feminine face, making the hard to detect bone structure such as this. It's Leary do these lips to fit that of Chechnya to fit that on teeth curve inwards on the upper part of the jaw around the middle of the nose, marrying what you did before removing the skull. When I have a more feminine face to work with the angle, joy and so on to remove these hand plans. But here we go and now for the neck and shoulders, more feminine features or have center Knicks. But this works well with the thin edge ALS as well. You'll start in curved in instead of following where you would most normally, you wouldn't have a thick nick such as this bet. You normally have this kind of thing, Nick. Or even this. Let's go for the thin apart now because we want to still show bone structure. The instructor work similar to that of the male. When it comes to working his nick into the shoulder, it starts a little bit higher, but where we ended, the long goes into the shoulder more delicate and smaller frame to work with. But again, another shop disk that needs to be hard. I'm gonna run out of space year, but you can see the example of you when it comes to working with famine and faces, you won't have an Adam's apple toe work with cause females don't and you have and neck muscles. If necessary. You still have Baker, and as for colorants, thes are more angled upwards again is more prevalent and you're finally straight to the top like so now this is taking a look first at the face front, off a feminine face, as we saw in Male once we had this to work with. When it comes to feminine faces, we still follow the curve. The head is a lace pelvis, the natural, the mail. We still have a jawline to speak off. I mean the curve. We have our chin here. Every funniness skulls are very similar to mail, except for the slight curve through the in Woodside. So that's why it looks sort of on the face forward. But from the face front, you can also find very similar features. You find mainly that it is just smaller when working its proportions. Cheekbones always prevalent, they are often hired as well. Temple bones are pretty much the same area as well. Ah, soccer is pretty much the same, knows as often smaller and as with the mouth. The mouth is smaller as well, so I could sit. If you're unsure how to adjust the features to make them appear more feminine, just go smaller, more cute angles, more curves to the face and the sharpness, and you should have a more feminine face to work with. immediately that concludes this. Listen. In the next video, we'll move onto painting aid, how to paint their head, how to conclude shadows, hard to turn your skin and so on. 4. 03: Painting The Head Shape, Darks And Lights: Hello and welcome to your portraiture course in this. Listen, we're going to learn how to paint the head in the previous listen, we create to the shape of the head style. Last way muscles and bones would go. But for now, we're gonna be a painting in the head. So I've simplified it by removing the futures on the face details on the neck and shoulders . Because what you're learning the head is all you'll need to know. First things first, I'm gonna create a layup knee tha which Albert our skin color to work with. Now, when it comes to work, your skin color is this different turns that you need to take into account one thing you could establish with a lot of sitting with a lot hits to salt away, everything will be so that's it. A lot source is gonna be over here this orange dot The light is now hitting the face from here to here. Shadows will obviously be on the side of the face and the lattice point on this side. So now we're gonna work. The skin turns to make sure we can get shade and lots. First you need established a base turn. A bass tone is the normal turn of the skin is the skin that is a normal large instead of indirect lot. Therefore, there is no shadow, but there's no ha lots, either. So it'll be a skin turn that's almost dark, but not quite. So let's work with a Laskin. This will be the turn that you'll be working with, so I'm just gonna fill it into out here. Now. This is where you build up on it. You have your skin turns here in your mixer, you go Lata and you add them on a lot to side, and you gradually get larger and larger penny, where your highlights will be like so And now when you get darker, what do you need to do is go towards more 10 and neutral colors like so, and just get DACA like that, very simple to work with. To blend them in properly will go to our sittings, change the pressure to something about Lyta and, just like touches throat copy colors very a lot black touches based on full of it up. Anyway, this is an excellent base not to work with were your darks and lots. If you wanna go particularly dark, you obviously take this turn on small the brightness and go dark. The next say that you're probably work with very really is just complete black. So you like that? That's for complete hearts. If it is very what lot you can use, what? Now that we've established the tones, what we're gonna do is establish the shape of the face to the lots, so allow me to simplify it even further. Now I'm gonna create the base jump on small, come for the whole head. And how are we gonna use the shadows to show where the faces beaches are Now, when it comes to the structure of the face, one thing or notice is we're gonna have a nose to work with. First, you know, it's the curve of forehead. Down is a slight dip. Usually with the nose begins, the nose will incur that. Girls in today you have your upper lip. The lips kitchen normally cause down chin sticking artist to it. The next thing you should know that these are the first bumps when it comes to hitting large directly on the side, so we'll create our shadows surrounding that now, from this diagram here, anything that's moving closer to the left side gets a starker and more stylized version of the shadows There more defined, however, if it curves its list of fun and it gets latter towards weight dips to the right, I show you how this works now. First, let's get a skin tone. It's dark and I'll stick out. But more take a spray painting in. What you're gonna do is we're gonna show the curve of the forehead. If a curve at the top Next thing you know, we're gonna create the shape of the nose, the nose comes forward. Tip seemed like so So let's make sure we have that little tip in, which is over here, where the nose down the center. All right. Since the nose is not gonna cook back straight down and we're gonna have a stock tip like that, an early slat touches with the lips would be and again with the curve of a chin. So let's fill out the rest of this face. Now this is painting the face. We now adjust it wherever we need of the large colors. So let's see. Let's make it a little bit lighting here just to really define where the nose is and how it's looking. Something it just a bit more to find you. Uh, it's good back on that one. Fairly, fairly lot like So Now we want to highlight more features. The first thing you want to do is know that there are some parts of the face which will be shallower and deeper. Mainly, there are sockets. There are sockets away. The face steps in a lot more because this is where your house would be, and it's gonna be a slack tip inwards. First way to show it right now will be if we have a socket looking from the side. Yeah, dips in and then our begins somewhere around here in the bone structure. So there's a sucker that the our needs to fit into, like so Now we know that our socket is that is gonna be slightly darker and that so what we do is we take a lot skin tone. I think it just a touch DACA take out tour and hint at it. Yeah, the same way you would at the cheekbone. Yeah, cheek fun. It's like so away from the sun, so that's defined it a bit more. Just very loud touches. Same with the shape. Uh, same with the shape of the Was this getting less lot? So we have to define it that way. That's to find it a bit more idea around the nose area. When it comes to shaping the nose again, we take a much dog color, much fun of point. Like so on our way, it is. Lotto will have the final point coming down in words our light in a bit more. The dips in the a pill Apia take it a bit darker than that in fairly large drugs. We just want a hot out the nostril. And since it needs to be a very thin shadow toe work with, I just got out of bed more already. The nose is starting to stand out a little fantastic, bring the shed and a bit more. The nose is starting to shape a bit more as well, which is exactly what we needed. And we do the same with that is created in the US with the eye socket as well. We want to really emphasize that this is where it dips in the face away from a lot, just giving little touches to show way the face tips. It helps to shoot covert ops to show the bone structure. Everything that flows of the skin is now being highlighted just darker shadows. So Jordan here now we go to the same now for other side of the face, making much latter touches a lot touching the knows just cause it's love it higher Jolanda and Vanishing Inches Skin. Yeah, Now the only difference that you need to take from this when working further and further into painting the face is the intensities of it. You're gonna make it darker, make it darker throughout. So very large touches off a darker kind of age. Maybe a little bit of a touch here, a little bit of a touch. Yet to show that nostril might be, have you slide into the land me or building up into the are socket of it here between intent, what preventively as well, Well, in the dark line with the jaw directional turn off the lot. So let's say the lot is now lists on the side, and it's more centralized here, and it's beaming this way towards the face instead of directly straight to from the sun, In which case you would actually have to hint at sticking out, parts of which goes, you have to hint at parts of the face which are actually sticking out. In most cases, this just means having lists shadow the nurse. We were sure that more prevalent Lee always show the cheekbone, but better just wait a little lot underneath years. Well, already this slot touches of highlights to face will bring so much life to it. What I'm gonna do is take he very doctor now and very lightly. How? Hint at with a nostril be this will be the darkest point of most Moses is gonna be in a nostril. So its shape that I didn't take a lot of time work around it blended up into into the skin . Follow the curves shape the nose of the star covers, get a little bit lighter, but more to the flu strain we're working with. Let's save it. Yeah, warm turns are fantastic. Like we created of this orange Sparky on the tip of the nose really helps plane from darkness into the lot. Anyway, I'm getting carried away a mile in practice and the next listen, we're gonna learn about shaping our bras are bras. Help oven expression with any painting besides what your expression of your character will be just with a simple, higher or lower mated. For now that concludes this. Listen, in the next video, we're going to learn how to shape your eyebrows when it comes to male and female characters abroad are a great way to express what the character is feeling. With just two lines, you can decide how they look at what they're thinking. See you in the next listen. 5. 04: Shaping Eyebrows with Expressions: hello and welcome to your portraiture. Cause in this listen, we learned how to shape the Avra. Our bras are funny. Part about the importance are balls can be positioned anyway above they are to help give new expressions to the face when it comes to experiencing our bras. One s Do you understand that they are folds in the skin. If your eyebrows raise thes falls get more visible. If not, these falls will then flatten out with avoid. But at the same time, the lower Yaz is the most crunch. They are closer towards the bridge of the nose. And as such, there'll be more recalls they So I'm having to looking at this portrait that we did earlier . Let's just erase these joke. Our bras are created and discuss the shapes of the umbrellas that one can work with. First, I'm gonna draw a little diagram to show how the structure of an hour brow works. The wrinkle that are rather, let's say, is just a sexual. Normally, the haste trucks are upwards like this. How they've been mold into Alon is simply by curving. That means so you used to get fluffy our brows and you do get straight, sleek ones, but also depends on the gender because more female characters that he might be painting or have thinner, more style last our brows. But this is only the main call off the obra. They are the other two parts. First is the part that closest to yar the front and the tail, which is the bank I'm creating, and our braglio notice. That is, when you paint from a picture. There's an almost fuzzy part to the start of Barbara. This is just the structure it being in these two games, and algebra starts out very thin, such as thin. Here's and then gets think and think and think it take until gets into the main part of. Yet This normally happens very quickly, so you'll find that this part is kind of small. When we're Kenniff. Eyebrows as you go through the main part of your main part eventually gets so angle Donald's that the hairs pick up longer and they fall into a point. These are, yeah, bras. The different styles of our was that you can get. You can get shorter our brows, so we have a short filbert and with support to destroy curve of alarm based of its sketched , like so to our details, just that farmlands be sure to leave gaps. You'll see why, in our next lesson, straight into the tail shorter are brought a zika long eyebrows. You get curved and you may get some unusual bras. As Tonga's Bob, for example, you get more Ray once. It's just a straight sections such as this, but then it has a longer tail downwards. You get tales that are similar to this with a straight section, but then they could longer almost a strong is the main section, which is over yet so that we've created a painting of a face which I decided we can work with here when great in our bras. So I'm gonna create a new layer, and we're just gonna do them painful now solid shaping our bow on the face right now just an average one. We'll start at the tail, the tail follows. The are socket, which is gonna be here, said it's just paintings out of so could seen. For now it's followed socket like so now we just need a mimic the same side. Now we just need a mimic it till now. This odd under the curve near the end of it, chop it off into a tail fairly basic. When you painted into our buzz, you just do Forward Struck's curved them with the line downwards like this. These kind of struck's throughout close together makes it look like a scare just exactly what you want. But at the same time, you don't want too much detail into it because Almaraz 10 really especially in the dark don't show much detail. So it's. Here's our representation of the shape of Barbara, but I end to the town now. This is where a resting state off the obra would be, So there won't be any creases here or up here. So that's taken a razor and create an example that I'm going to move this Sabra decreases and I'm just gonna draw the shapes for now to get a more Farhad Ira, which is good like this. The tail still curves downwards, no matter what, but now you. But now your skin is being priest, as you could see during our brows, just mean to bring in muscles down. Over your are a little bit more, as if in thought Now, making note of the muscles You have skin moving in words like this. This us means we have to adjust our face like so Now it looks like, Ah, sitter is in thought. Now let's take a look at another star. If you want to express confusion or raised our brother, you gotta make sure curves. So let's take a black ink pen again and raise the obra raised eyebrows Generally, curve, but more like so And I'll just for interesting. I'm gonna also do a far owed lower Barbara just so I could show you where the crews work. Now, at this point, you're really far in this part of the OBRA, so there will be a good here, indeed. But now you've also raised in Alberta and I'll folds in the skin on the forehead are gonna appear. They appear mainly around the mid point when most of the skin is appearing. Is here the most wrinkles that recruit and afford to appear around this point, you're not gonna find wrinkles on the sides of your head that increased through by Barbara . Now, as you notice, the skin is being pushed here, the skin always should be pushed up. Yeah, good like that. And that the reason it goes down so sharp, please, because our skin years now talked, it's being pulled down. But for it, Abba. As you could see, this part is being pulled down. So the skin is small, flat following the forehead shape, and this will fade into the skull. So it's paint that in. Now I'm going to take a doctor nya create the fired our brow like so Kate. Eight Dr Tony and avoid. Follow the curve off the about no and get lighter towards this part because it's no longer being braced. It's being stretched. It starts out straight enough was down, and you just need to blend it nicely into the void. Like so. This is a fantastic expression, tohave and a comical for your portrait. Now we're gonna take it to look another one, and this is just we have your angle. This is where you have your sitter and angry sort of post so that our bras be definitely pressed in a lot more. Around here, it's again similar to Faro Dobra, except a Sfar is your Citic and stretch the Airbus closer towards the bridge in enough. This is generally just above the master. But notice the tail stalker. This is a mistake most portraiture artists still have is that they would adjust the umbrella suitably. But the tales always point downwards, no matter what. Sonat, zoom in a little closer. So I could trade with the lines. Would be, you know, stretching. Ah, So this is where the fault would be pressing down into the nose. Their forces is pressing to the knows. We're gonna have holds here as well. We can have a generalized flow into the nose. Still, we can still have Ilan across. Yeah, if we have more folds to the nose. But generally we're gonna follow these parts more expressively. Yes, you could see here going into the nose, going across the nose and then basically to lands here at the corners of our bras that come down like that to really express the anger. Let's make these lines a little finer. Bringing an inch in a bit more like so very expressive. Our bras, they do fold the skin like you can see here. For now that concludes, is listen in the next Listen, I'll be sure you're painting your brothers 6. 05: Painting and Detailing the Eyebrows: hello and welcome to your portraiture course in this list, And we're gonna be painted in our brows on our practice portrait we have here. So let's zoom in closer. The style that I'm going to go for, for these are brass is very simplistic. We don't want to create too many difficult parts to our portrait chest yet we still in the beginning phases so simple. Our bras aren't bad to have. What we do is take a color. I'm gonna be working with a darker color so we can see it, but better. And on a fresh layer between the our plan and above the paint, I'm gonna show you how it's gonna affect the pain. When you have your Habre's first things first you take your dark hair color. So I'm gonna work of dark brown and position with Alvarez would be most likely. We're gonna have them here. Thanks. So very simplistic. Try to get them a similar to each other as possible, starting an inning in the same points of other hours. So this looks pretty good so far. Now we just need to add in the shape you can use the ink pink before but I would really come in using a low pressure. You don't wanna have a to detail like so because you see, I'm gonna start you of the tail first, moving down following the lands that I've created a really just building it up. This is why we leave gaps between the armour here Because we want to show the skin. This helps add to the realism around here. Near the end, I'm gonna paint back over black Was any here star? The same goes with our bra that they are gonna be different. Here's of different colors. This helps give here the shape as well as the texture. Someday, lots, trucks for now to start off with, just build it up, and then I'm gonna use the darker colors a lot of colors throughout. Since I'm working here in the shadow of the face, I'm gonna mainly using darker hairs for the obra. Use a mixture of long strokes and short strokes as you go. Now I'm gonna take use. Black turn says it's at a low. Pressure would look exactly black, but it will definitely add to the texture of the opera. And there we have it. Now when we were on to the next part of the arrow, We take the same sort of dark a koala, not black, and start working as well. Now we're gonna use dark as before, but this time, very, very scarcely. Mary very scarcely may be in the dark areas of the Arab. Robert Moore would be closer to the front. Yeah, because this is following the curve of the face, so they'll be more shade here than it would be here, but still very, very, very, very scarce. Was that done? We're not gonna adjust the skin to suit the umbra, so I'm gonna create a layer Tunisia, but above the skin, you're gonna take a dark turn such as this, and we're gonna add It's beneath you. It's gonna be more shade now because we've created with the hair. So we need to fill that in. Let's do the same with this Avera, except much more carefully. We're gonna take turns such as this. I got a mail that just here and there you have it. The Ambrose now paints it into your portrait. You're more emphasis on if they are brought so far, the wrinkles you can simply add them in by adding in darker loans were necessary, as I showed you in the previous video. For now that concludes this. Listen, we have now added our brows to a portrait and how we might as well move onto the next logical step. We're gonna move on to the hours in the next video. We'll show you how to properly create the US we a portrait. 7. 06: Shapes of Eyes and Added Details: Hello and welcome to your portraiture course in this. Listen, we're gonna talk about how to shape your eyes and create them more realistically than you would with other portrait's. First, I'm gonna sit in cup in. We're gonna start working straightaway with different types of us before we begin. Let's say that this is Ah, the eyes circular shape issue could see here and now we're gonna designate where the our lives would fall to help shape there. First things first. You need to know that an hour has an apple ID and another word that apple it overlaps on the lower lead early here in Kona will point closest to the nose would say this line is where the nose would be. This is the point with their lands intersect with each other and only split. So let's create a income archaea so we can work with it First they are will be as follows vigilant apple it like So next we have the lower lid, the level it does get over that about apple it, as I said before, So this lamb will be just underneath it and crossing like that. This is where you will be now it's noted that they are has many futures to it. But this is just to shape the islands for now. Yes, you can see we have the islands here. This is where the this is where the upper island would overlap the lower island. And here's our nose of a year. As you can see, only a small portion of the eyes ever revealed at once. So the actual I itself will never fully show in a portrait. Alyssa is quite wide open. Normally it is not, and you have are similar to this. This in itself is very basic to remember. So when you're painting, be sure to note that the focal that are will not be showing it will overlap. But we're here to the other side. So let's now get a doctor. Can I just to show you this would be Was that other way? Let's not take it a bit further, and we're gonna work with how on our is shaped We have the upper lid done now covering over there. And now this is the intersection part that I'd like you to take note off. Is the lower lip coming up towards it? Hit in this point here. The circular part of that are normally stops around here and yet this blue circle be. It's just to show how the full part of the main are is not really sure. So here we have the circle are fully in and we have this corner over here. The corner of the over here is quite a sensitive part of the body. Therefore, it has to be painted quite sensitively as well. So let's do a close up on out of work. So here's the corner of the, uh has painted here. When it comes to painting this part of the it's important to note that they are many of different ways. You can do it more simplistic as normally just have a V shape here of this dark part being darker and this part being latter, Summers will have a slat note to them over a year, and over here, the capsule being darker and these nodes himself being Lata. Let's take a look at more examples in this portrait that I did a while ago will notice, said this is a simplistic corner to the other. If I was to recreate it now be very narrow are such as this, and there'd be a good into it with civil lines of harlots. Intuit laksa. Very simplistic, like the one we did before. This adds quite a lot of detail to the in itself and again as your notice. The full part they are does not Felisha just to smooth the such as this. This brings us to another part of the art which we need to take note off. So let us first create a here. Great. The center part of that are large enough for us to work with. What's important to note about ours is there's a people in the center always in the center . Now I'm gonna show you the classic harlot that you have us. But who's putting a They are beneath this one. So let's say this is a very doctor. You are just basic, painful now, and our highlight works as follows Get straight into the are and the people it shows the roundness of they are quite ineffective heart, which is why it is so commonly used. However, there are other highlights that one could use more specifically, you could have shaped our laatste opinion on the cameras. Often when it comes to most studio pictures, there's a curve to them. But this is so sharp angled to the heart when you're working, a reference is important to note any lots that you have an image. Just being close to the are very hard look at it and making up much more detailed as by simply adjusting the hearts is something that's a little different from the usual wide circle. Now what I'm gonna show you is how the lands work around these highlights the dark a portions of the are always appear here at the top. So first things first, I'm gonna show you how this works. I was thinking Catalonia a line here. Yeah, going on here I was one of those civil lines that go in and out. Think so within a What most people seem to forget is that they are darks and lights to there are preserved the heart itself and you could even notice it suddenly. And the lands of the hours. Your fund at Lance that with a lot it's the most will be a lot flatter or barely visible. It all replaced by solid color. Even although this effect is quite rare with solid color, you can still see it in the lines. So let's say the large hits this part here, the lift up aside, Off they are. And the darkest part is over here. Donnie and the bottom, right. Logically speaking, this is where the lines would be darker, closer together, more visible to the are the color that you use for their again would also be a lot darker. When we've been up, the lands will get lighter until eventually you're gonna be working around the highlight itself. So as you could see him, leaving blank lan with a harlot would be like so this or just into the color of their normally either if you're working with normal Latin with isn't any specific bright spots of the are the darks. Points will be in the upper part of their. Seen as this is where the up live for a year overhangs on top of the hour, the lower lid being more revealing of the bottom. I will have a lot of look to it, and normally it's divided as such along the middle. But along the top years, well, it will start to get lighter and up here, it'll get darker. So we have our dark lines. Yeah, like so. Whatever colors we decided to use. What s o b a lot darker as well. So it's taking a darker blue. Things will start to get lighter. Aziz, we get lower work in small adjustments. Adds more detail to it. You can't blame hours together like you would with the skin. And as you could see about being further away from the are, you can see more realism within the art. So another important thing to note about PR, this is the main ours of the done. For now you can simply adding these docks and lots as you go. And that really concludes the main part of their. As for the coloring in and shading of it, I will be sure you knew that in the next lesson we do painting. Now let's move on to how the folds of the I. R s. It works. This isn't the are done and dusted your first after also include simple adjustments. One still needs to include the hairs along the top. He's along the top or much larger, especially near here in easily done. Most similar to what we've been doing with our balls. Be sure to show with a flow of your hair's going from. This helps to add to the three D effect. You wouldn't have every single allies flowing this way, but you would have it flowing from this way inwards. Towards the are it's all about the perspective. Lines that lead in words, as for the bottom lines, is the same thing of perspective lines. But this time it's more visible since you see more the part of the lid to the Ark. Since you see this land, seen as you see this edge to the little part of the law much easier than you do with the upended and therefore the as can be simple meeting away quite simple and not too difficult to work with. As you can see from this, uh, we control the pupil, but we're not really gonna be working on it, but we are gonna be working on is now the folds of the uh So again, let's just say this is where the noses and let's say that our bras starts around here. What we're gonna do know is adjust the lands to the uh, here's the corner. Is this slide overlap? Which is more prevalent when you have the years? Yeah. Now these are largely above the are which is hidden more so in feminine faces, especially once of makeup. Just a line about the island like so this is just another part of the are that needs to be included at a definitely adds detail taking a look at that reference on small they are It was noticed that it is even here just above the are showing the fold normally to show the curve of whether I would be so depending on how overlapped hours would be. So, depending on the coup and where it might be, you might get it as of curves such as this one, just to show the roundness of the are, which is why you often get the bags underneath us. Because the skin, as you could see it, comes in words towards yeah, just to form a flap in words. And then it goes outwards to show where the cheek would be. So lan is definitely gonna be present in most faces unless it is gonna be in and with direct light will make so when including these lands. Just make sure this morning, but distinct. It definitely adds more detail to the hours in a wood without them. Let's take a look at another one of my references. You that old portrait I did Germany close now to the hours you can see the lands they prevalent as well. Again. Just showing the shape off with Alba would be long or short, depending on the ages. Well can help definitely add detail to the other. That being said, this is all you really need to know. When it comes to shaping the are the rest is mainly done to the painting in the skin turns around the art self, but it really comes to these distinct lands and shaping. You can get narrow eyes you can get while ours. You can get much larger ours that include our entire part of the people. You can get as that include the entire part of the people like this part here without any overlap, depending on an expression as well. Three. This is it, mate. You'll still have to be simply adjusting slide curves that it is to these ours. All it takes is true, smooth connecting coupes, and you can have a night of any top and even any expression for, however, that concludes this. Listen, in the next video, we'll add hours to our practice portrait and we'll start painting. 8. 07: Painting the Eyes, Dark and Light: Hello and welcome to your portraiture. Cause in this listen, we're gonna be learning how to paint. They are. First, let us return to the portrait that we're working on, and now we're gonna add us to it. Now, when it comes to the position of the is, the best way to do it is to create the land system in mind. So we already have a center line that's really been created of the nose. So they went to lacrosse salon from just in the upper part of the year. Like so, the is willing cross through here. So let's do it like so just from here with our Brian's in a curve it up like so. And we'll build on these. Yeah, like so. And I'm gonna filling the first thing you need to know about the Are is that the watch here ? And I'm gonna be gray, and there's gonna be less What did you think that would be here first? I'm just gonna do Mr White splashed throughout like, so. Well, shape it. We need to later. Now we get a gray, but his dark Is this too much surreal? The shadows here to match the shadows you and how much we're going to do. Is that gonna change this little outlining at 2 30 Be seen so we could see with the gods are And I'm gonna use the skin tones to show the outline of where they are. Would be we'll use a darker skin tone with a thin section off a brush pin, well painted and obviously as we go, that should do the outline here. So let's raise it like so at fix up when necessary, not touches throughout. This is a delicate part of they are, so we'll try to be as careful as we can. Follow the shape of the as much as possible Show the smooth goes to you know Now, for this son, we would take a slightly darker turn, Something more around here. Since it is a lot to part of the are, we don't need a worry too much about it a little bit light on that that should do it. So I'm gonna raise the last never makes not fixes were necessary darker, more on the top and with about sitting and then a little bit lot two year around the bottom and we ain't in a circle foliar. It's created layer. But this we're going to add black people, not to it, especially back reports. The latter will add reflections in later. And I was looking quite wide right now, but we'll adjust its we're now. They started a bit of shedding out on the top. It's just a pass ity and bring that in like so and we do it even list. So here, on the brighter side, but still is are going to want to include makes him Yeah, I wasn't completely watch. So we're feeling the scene now. Dark corners of the hour. No fielding Justus. Easy. Is that so? As we discussed in the previous video, what we're gonna do now is ASAT lands to it. Take a scraping tool. I'm gonna take a Dr Ana Latal So a lot tour first karate. It's bring it in very basic lands. They really stand out a little bit. It's lines that we can use throughout the like so they take it a little bit. Gotta with a lot, it's more directly bill down. It's not a top because this is a part that's in more shut within the raced just little lands doesn't matter if they cross over the people. This actually is how that works. They stay more away from the artist room of the orbital eat inwards, and towards people it's taking a little bit. Lata started a sergeant and a little dashes of a lot throughout, even in upper parts. Just list. So now it's carry on with the islands. Take care to. What we're gonna do is first dark in the upper rooms. Make them a little bit darker. Increased capacity. We drove up a lot in curving overlap in around the corner when I'll make decisively dark here. That's looking really good. Now we take those fleshy turns on small soft drinks. We had them into the corner. Yeah. Now, since this is a part of the are that's getting hit directly with blood, we're gonna add a lot pinkish time with fine, fine touch of ICT. Show the highlights of the skin getting it. So to create these lots drugs, I'm gonna take out the pain change capacity to selling Love said it on black and in the dark it's increasing. Pass it just a bit. They create are short lance short lines leading into there and around the midway point of they are we now stroking away from the out towards the right, like so and now the same thing. We do slap loans in the pink line that we created just beneath her. Just a little hint. Second, small hands for your king of complex detail. You would make them much darker, but it's seen as we're looking further away from the painting. We really need to create a slight impressions of it, and there you have it. That is how you paint the US both in shadow and in lot. The as are complex part off the face, and it comes to proportions. You want to make sure there's accurate as possible, so everything fits together rather nicely. With all these proportions in mind, we're creating a realistic face now, yet with no reference at all. Speak your noses, since this is the end of the listen in the next video to be shown you how to shape noses and how to paint them. Following that, I see it in 9. 08: Shaping the Nose, Masculine and Feminine: Hello and welcome to your portraiture course in this Listen where you're gonna practice the shapes of noses. When it comes to noses, it is important to note that they are three major futures that you need to take. No, you have the bridge, the tip and nostrils. The bridge of the nose can come in many shapes as wells tips and the nostrils. Example. You can have bridges that curve, and then if an angle goes down like so you can have noses that could outwards, you can have a nose. Is that a sleek downwards? And how you decide the tip is also very important. You can go for a very minimalistic tip before moving back in. You can go for a more bulbous tip. Any girl for more sharp tip. From here, you can move on to the third part of the nurse the nostril. You can give a large curve to industrial. You can give a small curve to the nostril, or you can give only a slot discovered 18 and it all. These are valid shapes of noses. Now let's talk about working with the shapes from the different angles. If you work in a for direct portrait. It's normally your bridge comes straight down like so unless it's a crooked nose from here . You know I have to release the line because it moves into the tip. Cultural appear somewhere in this area for yet. So what you didn't do do the curve of the nose tip like self. From here, you move on to create in the nostrils. You can get wide nostrils like, so we're going. It's Molins like So I noticed that in the wider ones, the nostril itself is more visible than it would be here with smaller guys. No Tina angle. The nose is very important, especially if you're working off the bridge more than the nostrils and nose. This is because the nose tip you can see from the bottom. It curves like so. But the bridge is the difficult part because, you know I have to battle perspective. Here's working from above, and now he is working with it from Bella. It's simple, is great in a small tip, and it's a simple is creating a smaller tip and nostrils. But the bridge of the nose itself looks longer. If you look at it from about as when it is from below. Often important have found that working if the nose is Theo E easiest part of the portrait was to the time it just comes to shaping with skin. You obviously don't use bold lands to show your nose in a painting or picture, and it's that is your star. But you used the terms of the skin, so it is important to add it's always important ad slot details and note the perspective of the nostril. If you're working from the side, you'll notice that the took blocks most off that Assad like so I said, is the size difference. The nostril year that's hidden behind the tip of the nose is smaller than that of the nostril. That's in plain view, which is why often in some portrait artists work with noses. It comes to working from the side. It's far more picturesque than working it from it. Face forward like so, and it comes to male knows. His mail noses offered quite much larger, bolder and more chiselled, and that their blocky, however, feminine noses are quite slut smaller, and you find that you have to usually use less details. We're looking If a feminine knows another feature that most artists seem to forget with working with portraiture is that there is a small dip, but, uh oh, the nose most portrait are just seem to forget. This, as it does have, lead the nose from the skin to the mouth. It dips from the nose, which is outwards down in towards lips following the curve of the face. Like so. So, like you have the feminine of us tips. Longer noses allow you to show more details and thus making them more three D esque. However shorter noses, they are closer to the skin, so it kind of blends into the skin making and hard to figure out where darks and lights could be unless you have a reference to work with when it comes to a give noses and those shapes that you encounter so is based to practice working of thes three the bridge but and the nostril positioning waiver your nostrils will be. You cannot figure out different types of styles that knows is that you may encounter for now. These tips help you understand how the nose works and how you can figure out Howard or fits into the face gonna draw some little shadow marks? Yes. So you can see how they work into the face. Like so opinion with a lot is, let's say, the light sources always here on the right. For now. So we have shadow. Yeah, that concludes this. Listen, when it comes to shape, the nose is in the next Listen, we'll be learning how to paint in us. And this would be easy. Seen as we have practically finished created our nose already when we learned how to paint to face seething 10. 09: Painting the Nose, Shadows and Highlights: Hello and welcome to your portraiture. Course in this lesson will be working on painting the nose. Now, as you could see for most working with the head. We have done most of the painting full of nurse, but I'm gonna be sure in you now from the basic shape. Hard to paint the nose with simple, straight nose to work with. The first thing you need to know about the nurses that you will be smooth it into the face like I've done in this image here. First time you to establish skin turn, which will be the general skin turn. And now it's just our capacity. A little bit. And we'll work with the lots and docks, adding the most weekend she is a lot of a lot. It's got much lighter. I think so. But now let's get darker. Dhaka. Now, as we get towards this side of the face, we're going to try switching into the darkest of dark, which were working into purples. Thanks. So so that we have these parts. Sit out. What we're gonna do is establish the middle of the nose. The middle of the nose is established with shadows itself, so we take the shadows and let's go over it one more time. It's time, Doc. Shut off because with the bridge of the nose around here following the roundness of the tip of the nose like something and we do so a little bit here on the tip of the nose as well, this ad steps to the nose. We do a little highlight among the bridges. Well, notice brightest we're hunting. Took your and a circle of highlighting on the curve. Logano's already This gives the nose more three d hurry. This makes them as like, a lot. Most three D. Now we work with the docks, following the curve of the bridge removed into shape of the nurse video. Similar thing it underneath them to shut shadow of where the nose is going. As you can see, it's getting more realistic, but we now need to move the Atlanta that we've created like So now we need to add a doctor and coop so we can establish the shape of the nurse Group of the nose. Year is especially dark, so we can see it clearly. Such reduce. We get this purple color dark in it. I'm a jewelry line. It's just a raise, thes outlines, because we no longer need them that you establish the knows quite well now and there we have it. Painting the nose is no simple from shaping the face. Listen, your work, your darks and lights, but more prevalent Lee to show how the nose points, making sure that the highlights are clear just to show depth. Luther knows as well back. You could see if the nose we've done before we have a little heart out on the tip along the bridge along. Besides, so we can show the curse of the nose, making it appear more three D and less like a two D image pasted onto the face. And they have it. That's how you paint the nose in the next list, and we will learn on the shapes of mouths and hard to paint them for both male and female portrait 11. 10: Shaping The Mouth, Age Through Detail: Hello and welcome to your portraiture course in this. Listen, we're gonna learn how to create a shape for the mouth when it comes to Miles in Portrait. It's just similar to that of the nose. It's a delicate feature, and you have to be able to work of darks and lots. But at the same time, they come in all different shapes. So let's create a few lips Now. There are many different styles of ability, and bottom it. You get bottom lips that occur. You get bottom lips that how are straight to the bottom and then curve upwards. And sometimes you get lips that are incredibly thin. The apple apps are for more completes. You get lips that touch in like at on top of the bottom, like so yet upper lips that curve with a dip at the top. Like so and again you can get incredibly, then where it's almost. Features show you how to shape. Now, the lips. Beyond this, you have to understand that from working. If the nurse we have this Lord David below the nose that leads to the middle part of the lips, this is what pools thes two corners that you see in the dips off these stops of lips. These lands are in fact small muscles that pull at the top corners off these lips of a year , which is why you get some stronger muscles with more profound, which is why you find more profound. Muscles like these will most likely have lips like this, those with lease lands or no lines at all. Your fine have fast move the lips like this. Next, you must understand the corners of clips and expressions. You can, of course, get open lips. When lives open, they get stretched like so the upper lip Saiz, commonly pretty straight the same time. He s only understand that the lips now being stretched at this point other lips when in erased in state, will control to come together. If you get a pound to look like, so you find that it was stretch when someone is smiling to very low dips and features. When you get party looks kind of like this, you'll find out of a stretch when person smiles. The sad is a lot. This curve of a year is a lot more shallow than because over here, because the lip is being stretched this direction. As you can see, Scheller drops from this curve every year, and this could have Yeah, and the bottom lip. As you can see, there's a lot thinner it really comes down to in our small details of lips. So let's draw. So let's create a large people apps not to work with. The first thing that people seem to focus on when it comes to lips is the lance. They over exaggerate lands, making him so obvious when, in fact, when it comes to painting the lips, you'll find that there's a lot more subtle than that. Most of the time, you won't even see any lands as such. You find that this moves quite lastly into the lips, maybe darker around, closer to where the lips meet, but on the outside, not so much. This is mainly because a lot hits them even in dark. They seem to build quad well, the lips, making it very difficult to see that it seems in the shadow off the upper lip, the's show a lot more prevalent. Lee, that is, the small detail that one was not the same goes for the upper lip again, you don't really notice anything, so you got a smooth that into of the Lipa's well, even more circus up. Philip seemed to be a lot more smooth than that of the lower lip, generally, mainly because they think, because they thinner finally understanding the corners of the miles the corners of her mouth is where the lips meet. So this is suggested so deceived that offered in paintings that these are gonna be the darkest part off the mouse compared to that of the mid part. It also depends on your expression lines. Sometimes when this miles we're stretched, you find these girls just outside of it. Add opinion on the top of skin. If it's more, uh, if the skin is more loose, there are more folds to it. But the key futures unit note are here, and the lip themselves age does change lips. As with everything else when it comes to your portrait, younger lips are not smoother. Older lips are far more detailed, increased, and these lands do show a little bit more. Therefore, as when you add small details such as this mawr boldly to abort it, you make a sitter seem older than they actually are. If you want to sitter to seem younger than they are, then you just have to have less features. Make a list wrinkles, less creases, least board lands. Screw the faces, show young age. Take this portrait, for example. From this portrait, you can see a lot more agents, more creases. You could see wrinkles at the corner. The love, the laugh lands us and so one. But to make them appear younger, you have lace features like you see here everything is delicately done. But as you can see from the skin itself, it's flat. It's only from the perspective that we can see that it's only from the perspective and changes off the small features here that we given any perspective to the face details of very minimal. So the age really shows in a portrait through the amount of details that you find in the face the lips. As you can see here, you have slat handset lands throughout, but you don't have these creases. Obviously, that Lipsey A, you'll find, is a lot more details and lands more prevalent in the lips as well. So if you want to sit, it'd look or the great waiter shoulders. Also, not only through the R says you'll find there. There are a lot more creases under the arse, but also through the lips themselves. When it comes to the portrait that we've been working with currently, our city is quite young. The features are minimal, the face is smooth. Ours have no deep creases or wrinkles and bags to him. And the lips, as you'll see, are also gonna be lived quite smooth, which are quite difficult to paint, which is going to be showing you that in the next video that concludes this. Listen and I'll see you then. 12. 11: Painting the Mouth, Light to Dark: Hello and welcome to your portraiture course in this. Listen, we're gonna be painting the lips. As you can see, I've created several, sits with different kinds of lips and how I'm gonna be showing you how to paint them. It's simple. I have a layer beneath our plans here to work with, and I show you how to properly color your lips. The first thing you need to do is establish what kind of color that you'll be using. If you're painting someone that's wearing lipstick, you need to use more read turns such as this. This, as you know, is the main colored turn that hits it when it's not indirectly. So we're gonna do like we do with noses and the face. We're going to now establish the lights and darks. So I'm just cleaning this up now. No, I too much about the caps. And now let's establish the lots and docks. We simply go to a doctor turn and it's say that our light source is over. Go and let's say that a lot of sources of year shining down, So I have a doctor turned him. I'm gonna move it inwards into a lot to show where the lips meet. So that's cavity online. Low pressure just lied. Strokes leaving. And, as you know, we're blending in East Lansing. Okay, now we're highlighting the corners. It's not going to find out. Details the lips. If you want to be impressionistic, you can take a oil painting, too, and do a lot stroke through to show harlot like so just adding effect to the picture. If you want to be more realistic at the same time, you could take your scraping tool. Yeah, and you do it like we've been doing with little patches that lead in words of a lot. So I take a more pinky turnout so it's pink. Make a brush. Wanna make it latter again. Leading towards gladness towards the corner of the mouth with a latte is hitting. Get a lighter. Make it smaller. There's one final trick that you need to know with working lips, and that is to have the pink line showing our plant opinion on the skin. Turn the darkest skinny and use the more tan line. And for more fleshy skin, use a pinkish land like so, and you make this very small and your blended into this Kim, but still make it quite visible. Was that done? You cannot practice as you move through, the slips said. It's take more reddish turns more free. She turn and of its work with others. Now let's blend it the opacity just touch it in. All right, steak a doctor now rush like into lips blended nicely through the corners. Ah, a little ones over to properly playing things together. And we should ever know the complete set of lips and Florida. I would recommend experimenting of different lip shapes like you could see educated examples of smiling and created examples of an up and look being pulled by the skin and 1/2 smile. Well, I just stayed behind. Helps with practicing the shadows, especially since lips are so delicate and working in the shadows has to be so process. If you want to be realistic with that said that concludes this. Listen, So this is how you paint miles in the next listen Abu shown your heart in our shape, ears 13. 12: Shaping the Ear, Small Details: Hello and welcome to your portraiture course in this. Listen, we're gonna be working on the year. The ear is a delicate feature of any portrait, and as such, it can be difficult to beginners. What? I'm gonna do this. Listen, to show you how to draw that year, the basic shape, the curves and loans that most seem to forget and create a rather simplistic or unrealistic year. So I'm gonna show you how this works. Now, the first thing we need to do is great. The up a group of the year. Like so, we now have the upper curve of the year. Now we need to do the lower coop, which is the yellow moving in towards the year. Like so. Next we have a curve that follows the upper room of the year, but off, way down, like so and then blends into the ear leading towards this point. Over here, we then have another curve that shows a channel of skin leaning in towards the Al Aksa. And we finished the channel like that. We then have a node area which you can feel we don't have a note area which you can feel of a year even have another channel that leads up to you back to this point. And this is where you econo is and this is where your ear canal is. Let's remove these errors now so I could trait more details. Inside. This pretty much sums up the outside of the air. The inside of the gin is very simple. It's just a single curve, but leads around from the midpoint. Finally, knicker like so And then again, it will blend down into the year leading towards this point as well. That is all that. That is all they is to join. And here just need to make sure these channels give you highlights and docks, and you should be able to create more realistic here. As you go when it comes to the docks and lots of NIA, I'm gonna show you exactly where they will be. First, you'll have some dogs here. This is leading towards an inside part of the year, so it's most likely a sheltered from lot. Another obvious dark area is around here, just above the node. I think so, and we have more shadow around here just to run a nerd very thinly. but more so year of this cool. This is leading towards your ear canal. This is where most of your shadow will be. You also get some shadow around this curve every year. But note that is going to be a contrast to it, to show you it some harder to be our takes from Upolu, and there'll be a highlight following this, he's a skin that moves in towards the year con trusting against this shadow like so you then have a hot follow in this year. It'll might have a slight Eilat following this one. Yeah, a helmet Holot here and a pair it off. Harlot here, Shane the You know, this is the lots and dogs of your ear, not a bank. Too much of this diagram. When it comes to lots and darks, it all comes down to turning your skin, and that is no different from what we have worked with when it comes to our nose or face all, it is a skin getting darker and larger to the point where you concede dips within the year when it comes to a portrait, and ear isn't so important when it comes to most Portrait's you're seeing them place forward watching the eyes, nose and mouth, and this is the main area of the face that the viewer will be looking at. As for years, you do have perspective to work with, and as such you might have ears that are fairly blood, mainly due to reception working that way so as such will have a near that moves like so, and we're looking at it from here. If the view is face being of a year, so as such a low, these small details are really small to the point where they barely noticeable. Whether you paint in just a small amount of darks and lots like so, most likely or I have here is well to work with. You might have here blocking of the year again. It's a small future, but if you're working of portrait's that work from the side, you're going to want to work of the ear a lot more carefully. However, if you're working a portrait that works from the side, such as use the I, this would be where the year's most likely be. You have to get more careful of your details of the year because it's now more visible to the Via that being said, that is all you need to really know when it comes to shaping ear This diagram a fund. It's a very helpful when working with ears, especially with the lot 18 it at certain angles. The shadows will be emphasized of the art hits it from this way and of the shares to be listened and these shadows of this curve of a year and this one will be emphasized if the lot comes from here. All of these are important parts of the ear if you're working with the directly, so I do recommend you take a note of the highlights and the dark areas. But when it comes to working with the shape of the year, you just need to follow these curves, and you should be fun. That concludes this. Listen, in the next video, I'll be showing you how to paint that year, 14. 13: Painting the Ear, Keeping the Shape: Hello and welcome to your portraiture course. And this. Listen, we're gonna be painting here. As you can see, I have the diagram from before, and I'm gonna actually use it to help guide us through the process. The diagram is all the futures will need to take note off, such as the channel leading towards the year and the curves. So let's take our tools and get the movie to paint, but in So we get a basic skin turn like we would with the knows that anything else concerning the skin and we just add it in now where the lot source will be, I'm gonna position it pretty much hit on maybe a bit more to the left side so we can get some shadows here when the note is and along this channel over here, like I showed you in the previous listen. So let's add those docks in now with slight touches like so, a more prevalent circular one on the one leaning in like this. We have another dark area, and I suppose following the curve over the upper part of the ever have a dark area is here as well. Let's take notes of some highlight areas. The hot area will come down here through the skin channel and a kind of contrast of this off the dark of the year. It might have a slide highlight here early in this ridge. Another highlight run here. Now it takes a little takes right now is some dark areas bright our hearts and a little touch of blending throughout. And we should have a more realistic here, done with darks and lots says you could see him not darkening the docks just following these lines. That shot drawn through the diagram learning to difficult just to get a good idea. Really good. So So that's trying driving a Lancia. Okay, we could see really the years trying to pop back out leaves the borderlands and we just start sharpening the endless around here. All right. Now we could take more fleshy turns and works in through again this time just to highlight but more light areas. So I'm gonna take it up here, follow a class ity blended in like so shadows getting dark area near these channels. Ha! Lots on these rooms of yeah, especially over here. And the slide touches as you could see as it blends into the year, laxer darkness comes around these corners of you hear opinion with the light is dark more and you as well all form in the shape of beer with just the turns. You notice they're less bold lines now than there was with the outline diagram for over a year, moving that we could still denote that there is a here here. All we need to do, really here is maybe a dark and some darks, maybe please hardhats, but more blended into the skin. That's pretty much shows the ear and all its features. If you include all these features into your portrait when we give the year your fund that it looks a lot more realistic, especially at these areas around here as it blends into the skin and hey, or that's it that concludes its listen. In the next video, we'll be talking about the here of a portrait and how to shape it 15. 14: Painting Hair, Brunette, Blonde, Red: Hello and welcome to your portraiture course in this. Listen, I'm gonna be shown you how to. Okay, When it comes to portraiture, here is another important piece. You want to be as detailed as possible if you working of realism. But if you're working of more pseudo realism, you can try to do half and half where you have some realism. But you're not gonna do every single stroke with every day. I'm gonna be showing you know how to do the hand with portraiture first, before God drawing here. It does take a long time. So I'm gonna be showing you how to ride the shape it and do it in patches, especially if different colors of here first, What we're gonna do is tackle a common hey color, which is burn it. So we get a common ground kinda such as this, and we start doing strokes of that. So it's Goodson. That's really all we do is several strokes of it. So this is gonna be a Patrick Hickey. And it is good to have these wisps of hay because this emphasizes the lateness of tips of the hand. So now we go even darker and we work docks now we throw those in intermingled of makers if you have to. You can use blacks in the darkest areas they do add to picture do have dips that I do have texture to the hands well again. It's like would give to face talks and lots, but it is slightly more complex, as you are working with sometimes large darks and very fun points to, and you want to include them if you want to make it look realistic. Let's have a look at Blondie. She blunt issue can be difficult on its own, but you just need a general yellow turn somewhere that's kind of golden. You just can have a lot of harlots when it comes to Blondie as it reflects a lot a lot better, because there is a lot lighter color, I said. I'm confused with being more white, but rather confused would be more lot. So we take our tool in small and we started doing these last strokes dark areas. Did you take more? Somebody turn like this a very beige ish, very much tough rage, but she blend into the hell backs up now if you wanna go Lotte did any Eilis didn't like something. Well, let's take a look at ready read. Here is a common misconception. You'll be working of ginger. As such, you're gonna be using more orange tones than anything else, so more like a dark arranged like. So let's take a tour and we create a lots. There was lots of colors. Let's just change the opacity for Dr Reading. Can you take a Dakar Range? Work it Inches one of yanyan End gave the darker towards more brunette color ritual. Find fixes into a lot off orangey because sometimes brunettes have a hint about Ngeny as well. It's a lot easier to Spartan Budnitz than it is with people of blonde here, because Blondie is much more difficult to spot to such light turns such as orange. So again, don't be afraid to go dark. Needed Indians here isn't too difficult. It just takes a lot of time. And as such, you want to constantly include the same consistency that you've been using throughout the here. You don't want one patch away. It looks perfectly right, but you want to have several patches where it looks very good. There may be some artists that disagree with this. But in the end, this is what you want to create with your portrait. You want to create realism and the point that this is a portrait. You don't want to create such realism. Oh, you look at it and it seems so flat, and this is the best way to do it. If you've spent too much time adding details that, aren't they? It is going to cause conflict if you're painting and you're gonna create something that loses perception, positioning and deaths when it comes to working with age of any of these years, there's one rule always used and that IHS Grace and, what's more, Watts and the harlots and graze in the semi docks. But you're still fun. You'll be using blacks when it comes to age. But a few strokes of gray here, and the one Gomes in any hair color that you choose with that being said, that concludes this listen and the final feature to creating a portrait 16. Conclusion to Digital Portraiture: Hello and congratulations. You have finished your portraiture course feature by feature piece puppies. Portraiture isn't an easy skill to learn. There's always going to be a face that gives you a challenge. But the fundamentals are usually say here, but the fundamentals you have learned well, usually savior in such. But the fundamentals usually save you so much difficulty. You learn how to shape each feature from here to here. Complex shapes, curves and edges. Simple fire for your benefit. You as an artist now have a great idea how to shape the major features that make up any portrait. To top it off, you've also learned how to work with skin, how to blend it, smooth things out to create realistic curves and add depth to any feature and portrait you create. I wish you luck with all your future art, and I hope the result is a satisfying as the feeling you get when painting it. Thank you very much for joining me in schools and happy painting