Digital Portraiture: Basic Techniques for Creating the Female Portrait | Matthew Dewey | Skillshare

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Digital Portraiture: Basic Techniques for Creating the Female 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 13m)
    • 1. Introduction Digital Portraiture: Basic Techniques for Creating the Female Portrait

    • 2. Software and Tablet | Digital Portraiture: Basic Techniques for Creating the Female Portrait

    • 3. Digital Art Tools | Digital Portraiture: Basic Techniques for Creating the Female Portrait

    • 4. Layers and the Reference | Digital Portraiture: Basic Techniques for Creating the Female Portrait

    • 5. Base and Positioning | Digital Portraiture: Basic Techniques for Creating the Female Portrait

    • 6. The Eyes and Eyebrows | Digital Portraiture: Basic Techniques for Creating the Female Portrait

    • 7. The Hair | Digital Portraiture: Basic Techniques for Creating the Female Portrait

    • 8. The Nose and Lips | Digital Portraiture

    • 9. The Skin Tones, Lights Vs Darks | Digital Portraiture

    • 10. Clothing and Background | Digital Portraiture: Basic Techniques for Creating the Female Portrait

    • 11. Conclusion to Digital Portraiture: Basic Techniques for Creating the Female 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

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Matthew Dewey

Writer, Writing Tutor


A new course is live! In this course, I tackled the subgenre of mystery that is close to my heart; detective fiction. Stories of keenly intelligent or determined individuals who piece clues together and track down the antagonist, even if they are right under the detective's nose!

If you are interested in these kinds of stories and want to have a go at writing one, be sure to check out the course for some useful information to help you plot your story!


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 f... See full profile

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1. Introduction Digital Portraiture: Basic Techniques for Creating the Female Portrait: Hello and welcome to your female portraiture course. My name is Matthew Dewey, and I am a portrait artist. I first began my studies of art in school like most students, but as early nearing the end of Muskal years, I contained a neck for portraiture. It is by far my favorite art form and will always be, as it gives me a chance to create realistic portrait of my friends and loved ones. More popular portrait's are, of course, of the celebrities you're seeing on the screen now. In this course, I take you through my process towards the finished result. I've devised a simple, step by step system with which I create all my portrait. It's I use a digital art studio to create all my portrait. It's It is one of the most simple but effective art studios in which contains all tools that many other art studios may contain. So don't feel left out if you don't use the same software as I do in this course, we focus on the female face adequate. More delicate features paint smoother skin without the portrait seeming two dimensional and paint much longer and more detailed. Hey, with this course, you're not only learned the basics, but what it takes to create a realistic image off a feminine sitter that concludes this introduction. In the next video, I'll be showing you the software and the tablet I use. 2. Software and Tablet | Digital Portraiture: Basic Techniques for Creating the Female Portrait: 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 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 self are very intuitive, helping me select Kika that I want and the tools very useful, making precision strokes in my paintings. Hartridge isn't the only application I would recommend. When it comes to happy realism, however, it is the one that I'm using. Enough aren't very useful. It's for the technology. A rather soft ray I'm using a normal computer that runs the softly but more key to the making of art. I use a tablet from welcome. 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 could use any tablet e wish or any software you wish. The concepts are the main course. 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 for our trade software, you can download it from the website and purchase force more press. However, if you really have your tablet and software 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 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 | Digital Portraiture: Basic Techniques for Creating the Female Portrait: Oh, and welcome to your digital portraiture course in this village is and will be taking a look at the tools, which I'll be using throughout the schools. 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 your 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 lightly tapping along the edges are slowly make it more transparent, and it had planes 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 found. Strug's. Mostly I would use the spray paint to one small but but at a sinner point we're doing here . Always keep very fun spaces between them, which are gradually full with the for tones off a color as you'll notice all, he has different turns mixed in. We have ah ha la to have our docks and of course, we have the general turn off the as you see, I've done the hard lots. I no idea the darker tones. Certainly the hay 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, moving on 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 fun 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 off 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. How does he use the spray paint tool as well, to create people as you could see it through all the dark. But that changes as we used a razor to make things more realistic that really light in ages , 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 strokes. 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 toe. Of course, you can make alterations if you're working with more textured media, for example, someplace they may need texture, in which case you'll need to use your oil paints. Your oil paints work well enough to give texture dark turns. 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 at 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 stroke things together. But more consistently, I found that using the oil paints 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 fit the character. If your skin doesn't match than the character, all 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 they're just as 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 now and you struck the what into the flesh color. 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 to spray paint on the pencil to. With all this in mind, these are the tools that I use to make portrait's in our trade. I will make constant reference to them throughout the course if you get confused. 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 lesson. In the next video, we'll take a look at the layers system built into my old studio. 4. Layers and the Reference | Digital Portraiture: Basic Techniques for Creating the Female Portrait: hello and welcome to your female portraiture course in this list. And I'm gonna be showing you how the layers system works in the software museum as well as their reference image, which I'll be painting throughout this course. In the previous video I showed you how are blamed. Different turns together to make the skin for my portrait. Next, I'm gonna be showing you the layers system, which is the essential part of my course when it comes to layers, are tend to have certain parts of the portrait on different layers. For example, I have the clothing on the lay of its own, the face on a later turned of futures under different layer and so on. More specifically, I would have a background on the last layer, and each layer is formed on top of the other. To make sure you an example, this I'm gonna take the spray paint to which I have year and I just appreciate is something visible and create a large blue X across this layer. I think good to my layers tab like the plus someone Edsel A. Yeah, whatever's on this layer will now be above the eggs. So if I take rid and I paint a circle in the middle of the eggs. In the latest system, the circles on a different layer and X is on a different layer. If I were to turn off the visibility for the top layer, which is the rate circle, it would only show the X and vice versa with the X factor in off the visibility Day. What's important to notice that these layers are unaffected by each other? So if I have the top players selected and are on the A razor through it, like so you noticed, the X is unaffected. When I'm done working with the layers, I tend to merge them down. And once I do, they are both combined and they are both affected If I used the razor. So let's clear this layer and I'm gonna show you how use these layers with different tones . Well, generally, I create a base turn for my portrait swing to go to my samples and I created based Turn something darker like so, and then I'd use a lot of turn on a higher layer to show harlots and two plane these together I would use the A razor on a lower pressure and gently dab with the ages until that blends in nicely into the lower layer. And if you anymore docks in, picture it again, out to raise at the harlots until I've got some good highlights and some shadows in the portrait. Another tough showed you how I'm gonna use the latest system. Throughout this course, I'm gonna be showing you the reference image, which I'm gonna be painting throughout the course to show you the details of how the work of a feminine face first click on the reference to have a year and select the picture. This is the image in which I'll be working with this picture contains plenty of darks and lots as well as longer. Here for us to work with heavy in darks and lights is important, especially in portrait of female characters. As feminine characters have flatter, more smoother faces make it more difficult to paint. The reason behind the difficulty is that they appear more two dimensional than three dimensional. More often than not, is better to have shadows or very turns within a feminine, face educated, more three dimensional look, therefore, more realistic looking face in your portrait that concludes this. Listen. In the next video, we'll begin the first step of creating a portrait laying down the base for the portrait and the background and positioning. Where are features will go. 5. Base and Positioning | Digital Portraiture: Basic Techniques for Creating the Female Portrait: hello and welcome to your female portraiture coast in this lease, and we're going to lay down the base for painting as well as positional features in the portrait. In the portrait we have year, we have delayed down a baseball face and body as well as the background. Once we have done this will position the ours our brows, nose and mouth. These air the main futures of any portrait, and it's better to have them situated in the face so you can get a good idea of where proportions are at how the portrait will look. On top of that, your so outline with a heel will go first. I ever let us begin by creating a simple background. The background, for now should be something that contrasts the whole portrait of all besides background and at the same time, it also has to be the general tone of the picture. For something that contrast this picture, we're gonna go for something like a green. We'll change the background to something more suitable in the final lesson. However this listen, we're just here to lay down the foundation for our painting to lay a foundation. We first educate the base turn for the face. The face based turn is a large inflation color. So you something like this two, Major, I think a little bit a lot of the net. You know, it doesn't have to be the exact turn of whole face the faces, several turns within a picture. So we're just gonna lay down a general, want to work within riding high lights and darks later on. Once you have done this, we're gonna lay down the foundation for where the portrait for where the face will go. You may as well make this a large abstract blood for now and shape it when you begin your next part, we have a more rounded cheek. Yes, I'm gonna just that suitably Hey, Slam thing. More angular jawline. Yeah. Okay. I think that's good enough to work with for now. I'm gonna say that. Yeah, we're gonna move on to the next part of the base. First, we're gonna start with the hay, and then we're gonna move onto the hood. But here goes over the face. As you notice in this picture, such we're gonna do is do the same thing. We're gonna take a tone on a new layer, and we're gonna use it to place down here. It doesn't have to be the same hair color that's to be selling. It's just contrast enough. So we're working of blonde, which is very difficult as their highlights do camouflage in the skin at some points where the turn is the equal. So what we're gonna do is use a temporary turned for now just to stroll where they will go . I'm gonna go for something contrast ing, but at the same time, not like the color more like this. Greyish purple For now, this will help of the docks in here as you'll soon see. With that done, we move on to the race to the here. You don't have to be very specific right now, for example, that a lot of strands of here that'll connecting year that we're gonna have to be working with later in the course. However, now we're just gonna provide an estimate of whether he is. Then we'll do with the clothes and then we'll just be able to position in the face features for hours. We finally just a bit more here just to go with occurs so this will be where main here is before it gets lost into the hood. And there we have that. Now we're gonna create two layers The first layer will be underneath The second layer will be over All that we have done so far So to do it underneath our click on the background Priest suppress symbol And we painted where the clothes would be close We're gonna take a dark blue to fit the tone And we're just gonna fill it all in shadows included. We're just here to do bases, Not for a specific part of the painting interest yet we know they here goes over the shoulder here as I have painted some just gonna paint it like that. I begin feeling everything in now we're not gonna reworking of this overlap. Yeah, we're gonna just work with follow this hood of Yeah, like so. And we could tell the shoulder goes out according to the portrait with the curve of the he and stops just before the end of the picture again comes in just like so via we will find it a bit more to the shape. Same of Yeah, And there we have our base everything we need to work with it. I'm gonna add one more thing just before we end off on there and we want to features. I'm gonna have a shadow parts with the Knicks on. And this one, I'll just take black. It'll be a turn beneath the skin, but above the wood and I'll be like, so just a show. This could here help. Easier with shadows as well. How much they're going to do just a lap over here on anything. Use it on a fairly large size and just fill in details in black where everything will go again. This is all estimates of what we're Luckily, we have a good thing to work with, which is a strand of here that we've created over a year begin in position where everything would go like the eyebrow appears. Yeah, just before Yeah, I would paint that in, like so Do the same thing next to that in contrast. Okay? No, not very pictures. Get the moment. But we make the final adjustments that allow bus When we dreamed final features making a slight adjustment now here to stay. I didn't include the stranded comes on this face so that I help of positioning with ours are here. So I take my pain tool on small in a position to where figure that ours will be off into the rest of the But I don't make a thin a strand much thinner, but you go along the Was that done? We save and we have to take a step back and look at our picture and the picture. We've laid down the base for all the main features off the portrait. We have the hood there. Hey, shadows in the clothing. And most importantly, we have the baseball, the faces wells. Positioning of way futures will go. As with most portrait's were female Exeter's. The portrait is much more difficult, as there always features to work with. However, in this basic picture we have now, we have goes to the cheek shadows to work with a little help. Better detail ing. Of course, when we get to the skin, we're gonna have to learn how to turn a properly with the shadows and lots, as was the warmer and larger turns of the skin to make it appear more three d. Otherwise, it appears as it is now more to D, which isn't a great portrait, as most portrait seem to have dips to them to make the image see more realistic. That is the goal of this course. So we've laid down a base. It doesn't look like anything great right now, but we're gonna didn't work with the face, starting with the hours moving on to the nose, finishing off skin turns in the mouth. And they were gonna move on to another difficult part of the portrait, which is gonna be the here, and then we'll finish off the clothing and background. However, as it stands, we've made amazing progress in the portrait so far. And that concludes this. Listen, in the next video, we'll begin working with the IRS. 6. The Eyes and Eyebrows | Digital Portraiture: Basic Techniques for Creating the Female Portrait: hello and welcome to your female portraiture course. In this they said we're going to create the US and our brows, but it comes to creating hours in our bras. It is better to focus on the details that are small and hidden within the hours. So let s zoom in closer to the picture here. When it comes to working with ER, we'll create a simple outline for us to work with again something thin and more fleshy turn . But I said darker. So we'll go towards this part of mixer. Yeah, ever recently like that. We get an outline again with pin, let's make, like, 2% in sickness and we start rolling it in, like so we're turning back to our we're gonna create a lay of beneath it, which would contain just what, And I said before that there is no direct what in his picture, But we're gonna add shadows in as we go. So right now we take in a small spray paint ill, and we're just feeling the whole blob. Thanks. So and they we raise it to the guard lines that we've created. And then we have the first base for our the savior and I'm gonna do the same with the other , which I'm just gonna skip through very quickly. There will return to this, are to continue the next part off, creating us once more on a separately. We're going to create a turn which is general to the are that we have yet and we're working off a dark hour one of the most difficult, the most common eyes to work with as it gives you less room to make details, taking a talk, brown turn usar spraying paint too. And we feel it in slowly We're gonna filleting on top of the white turn that we've created and then a race very necessary. Now we take in black turn as doctors we get We had the pupils to the size which we think is correct We start a new layer and we take in Alpental We take in a lot term that is really brownish like so make the paint smallest possible that just are set into The pressures are so very low So we can just kitsch as we go until we get to the right and we create Conlon's like so throughout image going outwards. I can't. Now that you've done that, we're gonna take an even larger turn now. Well, in just appreciate is something very low. Say, 1%. We had those Latin's and chest. Just a touch. Maybe use spray paint till just to make it Even. The latter is we do a lot tabs like so And we added lots as we go in light of in light and life that you were the point looks more like a reflection. That s a closing on this reflection, like, so like that. Now they good thing like that in that way. Now we've completed the irises. We're gonna move on to the next phase, which is going to be creating the edges and corners around it before we gonna gray out the eyeballs. First thing really considered. Oh, yeah, is the corner with the corner of ours is always this fleshy turn, which appears. Yeah, What we're gonna do is now at that turn in. To do that, we're going to create a new layer which is above all of the laser creates so far, except for the pipeline layer, I'm going to get a pinkish turned. It's fairly dark. So go. Yeah, to read. And you see, here we have this pinkish turn almost Lenny towards purple. Take a spray Paint tool makers really small increases as a appreciate cause. It is fairly dark. I'm gonna dio now on. Let's say around here you can bring it around here as well just to round out the all bold. So they were gonna take a black turn, lower the pressure and go over to darken the docks. So around you is particularly dark would make it that way. Taking us pray pain tool with filling docks around the top. Mostly this is because the island overhangs. So should a salat also usually above the figure. It will be dark around here darkness corner specifically add more pressures go like so once more we take the spray tool increase pressure may decrease special increases cells and we go over the all of it except flowers gradually getting darker towards corner which will make incredibly dark real Latin we need to Syria. But this part of the as you could see, an image is particularly dark, so we'll make itself. And there we have the US Is that done? We're gonna move on to the are brass. Abbas was simple enough. They're just small here Is that you create a low pressure in pin as faras. Be sure to follow the guard line and a picture. If you work in this one that done, We're gonna move on to eyelashes now. We're not gonna be focusing too much now on the skin around it. But we are gonna be focusing on the eyelashes, themselves, eyelashes again. I like short strokes of hair bloomed in some areas like so, if you really want to create the impression of eyelashes like you could see here they are fairly blood, greater strokes. But think over the entire thing with the razor leaving early. Fine points we are will notice them subconsciously and it is the adds to the whole of the picture. Struck crosses, theories that raised the garden. You had to get a better picture of what way to go. I believe I could take the razor. Actually, to certain areas of this picture, mainly around the top. Weber is out of touch. Very small touch like that. There may not be realistic to the image so far as in around the skin area, but when the skin area is filled in a bit more. We'll touch up that our brows, maybe even the US to make sure they are but more noticeable. And I have a better of all look. But I ever, that concludes, is listen, And the next video we'll be working on the hay. 7. The Hair | Digital Portraiture: Basic Techniques for Creating the Female Portrait: hello and welcome to your female portraiture course in this. Listen, we're gonna be doing the hair. Most feminine sitters have longer. He, as such more detail needs to be put in them. Unlock sitters with short to here, where the required amount of detail is less and strokes are shorter, making it much easier task. However, with a longer here, it may come down to realism factor with keeping long strands to the but I'm gonna do is show you how we're gonna do it. But first going to do is make this lady invisible. So that way the Haymarket will stand out a bit more. So we move these as follows. Not only has this made us task easier to manage, but now we can also see how the strains flow through from the top of the head down. What we're gonna take next is a spray painted all. We're going to start a new layer. Just above that, he and we gonna find the general tongue. The general turn could be told from the darker shade. Yeah, Darker shaded. They tend to hold the neutral turn on which they he encompasses. If you want highlights, you would look at the Brattle turns. If you want to. The dark side look at the shadows. However, it's best to look at the darker areas as these are more at a at a even light, allowing your better chance to create a more neutral term. So we have a lot of color. Let's say something around here. Take a spray painted all and we feel the markers that we've already made. - Once you completed the mania color, you're gonna be taking your reason just in the pressure to somewhere around 98% making sure it's particularly thin. How about in a section of here that you wanna work on first and then cutting and small lines to show the gaps in between you chase? This is a far easier way to retain longer here without having to draw along with strength by simply cutting in the gaps. It's a book as farce now, through Done the section that's examining for that. As you could see, they all watts and lots here, So we're gonna be feeling that enough a lot of grace, mainly to cover up a lot of the neutral color, which is far too broad for the pictures. Yeah, actually re cutting in a lot of gaps. Any of us, this chance I take up into just the pressure to very, very low said something like Watch gray and then just fill these long back in Seoul as long strikes is, he believed, but mainly try to follow with the Hagos, - maybe not to the next section of the hair, which will be this part of the year. We have dogs and lots to fill in the docks, and lots are going to be easy to fill in as you can see the different tones easier to identify. We have a doctor, more oranges, Tonia. So make note of that with stroke such that we don't have as much gaps, more particularly here than here to take out a pinto and make stayed strokes into the teeth . - As you could see that he is starting to take shape. What I have done is created multiple layers that will help with the vibrancy of the As you noticed, they are different turns to their these dogs. This latter's with lots, is harlots and is very much warmer turns in here in the shadows, from the shadows, you get a pinkish blonde inter towards his pinkish upgrade that has been layer were for low capacity of broad pink. It is a noticeable completely, but it doesn't fit the turn of the on top of that of greater lays with darks and lots at the same time, still creating several layers through the actual mainly er over here. Well, I'm gonna use my pen to carry on carried strands Notice. If I turn this off, you can see the various amounts of layers having paid over it. I'm gonna continue to do this for the race to the bet you pretty much understand the rest of it. Let's get a brighter white to color to make sure that it still keeps in turn off blonde. However, the darker areas can gain the contain. A brownish tone or particularly dark and thin areas contain a great time. It does eventually go in towards dark areas that's under the hood here, for example. We're becomes completely black and shadow do us throughout and that he should look, just run that concludes this. Listen, In the next video, we'll be working on the nose and lips 8. The Nose and Lips | Digital Portraiture: hello and welcome to your female portraiture course in this. Listen, we're gonna be working on the nose and lips when working with the nose and lips. It is important to understand how to work your skin turns. Working your skin turns can help define a perfectly three D knows that is accurate and realistic. However, having bad skin turning can create a two dimensional image or worse and unrealistic image. One has to give the impression that this is skin through a lot. In other words, that there are gonna be darks and lights turns to the skin. If you do not darken or highlight certain points off the skin, it will create an unrealistic image, and the result would be a bad portrait. The nose is a great way to practice to see how your skin tones work with your portrait. First, let us identify the main skin turn, which we're gonna be working with, who's just understand that the skin is going to be below their here. So I'm gonna place it below like so and it is gonna be above the US first, the main skin turn that we need another now is gonna be incredibly pale. Once we have identified it, then we begin to darken or turn it to the vibrancy of the nose, as you can see is very stark cold here, but it gets warmer towards the shadows. So what's at does it now, but simply coming and we receive the shadows. This helps identify with the docks and lots on your picture. This will helpful, easier portrait someone did to find out of docks around here under the nose and nostrils like so, and I go slowly warming up around this area as well around the nostril area, I'm going to dark and particularly for that done, we can begin blending. But any kind of a simple enough when you If you spray tour, you're just krisha justice size and you keep adding layers and these adjusting pressure we need to see. Do you create the right shadows? - Notice how I'm adjusting. Ages incurs of the noses are painted with slight touches each time to help fill in the textures in each other to create a more realistic skin turn as I go. If I had to be to direct with it a contrast too much and creating unrealistic image, but ever to a little bit of becoming materially image, which is not what we're going for now. If you've done this much, we're going to rue the gun largely created and work off our impression so far to create a more realistic knows. - It's really it around these edges, particularly the shadows and dark areas Very noticeable. Now, baby. This simply adjust capacity to something small, like 40%. And then we have a more realistic knows first thing, Mr Istan Arad turned to use for the shadows off the bottom part of the upper lip so we can define where the bottom lip starts and the apple It begins at some way around here and already short purple, particularly dark because it is in shadow. Notice how the left part of the is a lot darker to the right part because the rap about is exposed to more light yet several dark and the lip particularly. Yeah. Now we're gonna want to remove the border that we've created to do so we're gonna need a very lot pinkish. But the radio take this pregnant till I should sit Very faint sons. That's a far for now. Wrangle. The closest corner, which is the left corner to us a bit more, just to hint at with a T. So go when our position the bottom never work on the teeth position in the bottom. Look the same way we did of the bottom of the top. We take a dark publish car, incur but with the mouth goes downwards and told reaches the center sort of levels out around the middle and passed the middle point. Here it goes, back up flattish pain until it hits the top of being. Once that is done, we take a scraping to him, and we're gonna highlight final Ages of the lips before we move on to the teeth and finish it off. We're gonna create this just what develops Great a great time and begin to shape the teeth with darker turns like black. Gradually building it up. Go straight down with Mary. Do little blend in each Clues, especially the ones closer to the corners, easily blend it in more. Don't be afraid of using black, especially if you're blending. It won't be that talk. And there we have the lips, teeth and nose that concludes this. Listen. In the next video, we'll finish off the face with all the skin turns, including the lots and darks 9. The Skin Tones, Lights Vs Darks | Digital Portraiture: Hello and welcome back to your female portrait tickles in this. Listen, we're gonna complete our portrait by completely in the face. All that is left to complete of the face right now is the skin. The skinner on the hours, the boy here the cheeks occurs gin and Joel and so on. Once you completed, this will move on to the clothing and background. First, let us begin with the face. We'll start from the top and move downwards towards the docks. Seen as the main light source is above sitter from the top, we can see that they are shadows. Just money through here and there today are mainly large throughout. So what we're gonna do is we're gonna take out lots, and we're gonna painted through the Floyd. We didn't do the same around the US except with Darken it further. And we use this tone of a year to be used to create the shadows under the notes. We give heads towards us in the forehead at large. We may need to do some alterations to the knows that we have done so far. Just to help lend it in Jared to this treaty were simply had some harlots underneath hours , such as here. We'll add even darker tones such as this around the corner, the like. So now it's time to do the highlights. Around the hours the hearts of there are around us. They're gonna be a lots kinter such as this. We're gonna take our spray paint tour. We're gonna make it to release, to increase the pressure. And just underneath I Yeah, being created. Smoke curve inwards like that. Make sure it's chairs. Clear enough. Is this the part of the skin that's being here Too apart. We have a similar line like that over here. It's even more so. Here something. Increase the pressure just a little bit. Bring it towards I. Yeah, such back to him. Such back to a lower size David Morse over Hot. It's there. We have the A there. We have the hours complete. We then move on to the next part off the cheek when they move on to the next part of the face, which is gonna be these lands around here first. What we're gonna do is just dock in the entire face area. Yeah, take in our dogs right now, and we have a lot with the curve of the cheek will be That's the first and foremost what we're gonna do. You could Yeah. Is just of other lips on Dhere. It falls into the cheek or laugh lines of a year. Just similar thing here. May need it. Just knows such and again, we're gonna blame this into the picture. These are important areas of the face. When they smile is appearing on base, there are no doubt, laugh lines. Some cases they were even dimples like this. I need to be included. A swell. - What we're gonna do now is lot in this area, layer. It's addressed the passages, like 30%. We're gonna make it more skin turn ish compared to upper part. What you've made quite dark produce around certain areas such as, yeah, in here, especially on here in the docks. Lots raced is also gives us the opportunity to fix any part of the skin Turns that we've created so far. Just way over on the nose. Made any mistakes here on the lips that could be picked as well, such as a Tonia that does need to be dark and we'll do that, says to me, this is almost like the semi final phase of our portrait, So we need to make any adjustments that we need to. Before we were finally onto the clothing and background notice that if we keep the curve of the cheek around it, the smile gets more accentuated throughout picture. Another reason why darks and lots of so important and they have it. The face is finally complete. We can all move on to the final phase of the portrait, which is competing in the clothing and the background that concludes this. Listen. In the next video, we'll move on to making the clothing and the background, finally finishing up this portrait. 10. Clothing and Background | Digital Portraiture: Basic Techniques for Creating the Female Portrait: I know and welcome back to a female portraiture course in this. Listen, we're going to complete the portrait by painting in the clothing and the background. When it comes to the portrait we're working with weaken, it is there's a blue effective, the clothing around it and a blurred background. This gives us room to work. What? This gives us room to work with whatever we would like. At other words, you can create whatever back on we wish. As for the clothing, we don't have to pay too much attention to detail. We just simply have to paint in. What is they? First let us address the doctor underneath the login and between the hand folds of the clothing in this particular area, we were just darken at the Latin at a hint towards the neck. So we take a black color, create the doc effect throughout, Sure, just to keep it under the chin. Every actor we can race at the board that the grades like. So with that done, we're gonna take a faint reddish tone such as this. Take us, pray pain toe and lower the capacity to, let's say, 20 something ST and we're gonna do a very large touch just underneath the chin to interact with Nick is dude quick doctor and around it as well. Except And that's what we need to do. Can they move on to the hood? A itself? No. Itself is a fairly dark greenish. You can go towards mobile Eastern if you'd like, but I feel that is a faint greenish in the turn. So I take the dark such as this and painted in the high capacity What religion do is take a lot Gracia lower capacity even more And I go over some areas Where light is it indirectly such as here in the shoulder You know where some of the us is. So hello ish capacity I will start to paint those in must take no to keep with the lands We don't want it to go into the Perhaps we will, Yeah, but and shadows toe blend it in that the rest of the here Not so much taking a guard Bluish tune this maintain it up That is a watch edge but will take a lot blue Great A low capacity and pressure got on the edge off the line here Very largely it with. Yeah, we'll take a dog spray paint with high capacity and we blend it in. And there we have it. We have completed our clothing. Now what we're gonna do is create the background. The background will make sure is simplistic enough. So that way the picture still stands out Simplistic in the sense that we wanted to blow as much as possible. So the portrait still appears the so returning to our green, we're gonna take some not great tones. We're gonna increase sauce, you know, also increase the capacity, but we're gonna decrease pressure, and we're gonna draw the straight diagonal lines. Like it as in the picture here. And we were dark. It'd in areas such a year. Yeah, around the shoulder. The doctrines are created specifically important, Like these again to emphasize the portrait center. I take great trains. Yeah, just to show the reflection against the door. The reason we're doing this as well is just to make sure that there's still some blue effect in the background. We don't want to create a clearly defined background. Otherwise it does take away from the image. We now have our finished portrait. There are many factors to consider. When making a female face, we have to consider all the curves and tones we have to consider the highlights and docks. These factors need to be considered more for female sitters than there are for male sitters . Well, such as commonly have more features to the face. These features being more wrinkles or more creases, sometimes a beard. Aftershave. Things like that. How there are a few more faces, their surface features, and when painting, it can be quite difficult. As long as you make sure you have your darks and lots and you can even are two turns like I have here. You can create a more three dimensional image, therefore, more realistic female portrait that concludes this. Listen. In the next video, we'll conclude on what you have learned in this course. 11. Conclusion to Digital Portraiture: Basic Techniques for Creating the Female Portrait: Hello and congratulations on completing your female portraiture coast. From the beginning of this course, you only had their ambition to create realistic portrait. But now you have the skills to do just that. On top of that, we learned how to paint the more difficult parts of female portraiture. We went out to properly smooth out skin and make smooth skin seem three D instead of two dimensional, like a flat pain. We learned how to paint detailed ours and hay, making the realism stand out more. All this from something a simple is painting a simple base to work off. Portraiture can be done in many ways. Most ways you can teach, such as impressionistic painting, which takes years to develop, and even then it will only be your style of Impressionism. However, when it comes to realism, you know may lessons you learn how to proportion features and turn colors to make the more realistic. That is exactly what you learned. And the techniques you obtained can be used anyway, even outside female portraiture. Thank you for joining me in this course, and I wish you luck in your future paintings.