Digital oil painterly portrait with Procreate | Cécile Yadro | Skillshare

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Digital oil painterly portrait with Procreate

teacher avatar Cécile Yadro, Digital & Traditional Artist

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

15 Lessons (1h 13m)
    • 1. Introduction

    • 2. Your project

    • 3. Selecting a photo

    • 4. Setup the canvas

    • 5. Drawing

    • 6. How to use the oil brush

    • 7. Under skin color

    • 8. Painting the skin - part 1

    • 9. Painting the skin - part 2

    • 10. Painting the skin - part 3

    • 11. Glazing and details

    • 12. Painting the hair

    • 13. Hair details

    • 14. Painting the background

    • 15. Final details

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About This Class

In this class I'll show you how to oil paint with Procreate. I'll show a portrait, but the technique applies to any other subject.

I provide a brushset and a reference photo, available to download in the resource section of the class.

First I'll explain what is a good reference photo for this particular technique, you're welcome to use your personal photo, or browse through the Pinterest board here where I gathered 200 references photos, all copyright free. Or you can use the photo I show in class, available to download in the resource section. It's a photo by Vladislav Nikonov on Unsplash.

Then we will setup our canvas to get the best of our device, we want the biggest size possible for our canvas.

I'll show you how to use the oil brush and how it behaves.

Then we will trace over the photo for an accurate drawing, but if you prefer to draw directly that's fine too! I just wanted to focus more on painting than drawing in this class.

We will then paint the skin, this is the longest part of course, as I wanted to show you in detail how to achieve this painterly look.

After that we'll paint the hair, adding details on it, and finally the background, and will integrate the face in the background.

At the end of this class you'll be able to paint your own portraits, in this painterly look and feel, but without the mess of real oil paints!

Happy painting!

Meet Your Teacher

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Cécile Yadro

Digital & Traditional Artist



New class coming soon! 

Bonjour and welcome to my Skillshare page !

I’m so happy you found me! I’m a French artist, both digital and traditional. I love drawing and painting portraits, landscapes, still life... art is an endless journey, I hope to help you with my beginners friendly classes.

You may want to subscribe to my newsletter about gouache. 

If you are a gouache painter or willing to be, join us in our Facebook group 'Gouache Painters' for more fun!

I post a class per month, more or less:

- Procreate classes

- Gouache classes

- Sketchbook classes 

I would lo... See full profile

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1. Introduction : Do you want to learn how to oil paint without the mess of it? Let me show you how to make oil painting portraits in procreate. Hello, my lovely youth. Welcome to my new class. I'm Cecile a French artists, both digital and traditional. This class is for all levels, whether you're a complete beginner or more atoms painter, I'm quite sure you will learn some things along the way. First, I will guide you through the process of selecting a photo and what is good reference photo. Next, I will show you how the old paint brush is working. We will trace over 32 to get an accurate drawing. And then we will paint the skin and the hair and the background. Very end. I will show you everything. It's quite easy to follow up. So you're welcome to choose a photo you like or USA when I provide you in class. Thank you for joining me. 2. Your project: Your project will be to paint a digital oil paint portraits. Difficult to say. Either a personal photo or something you find online, or someone famous maybe. Or maybe you can just use the one I provide in class and it's downloadable in the resource section. So let me show you how to create a project in the class. So you go to the tab here, project and resource, and you tap on the green button, create a project. And now you have the cover image to upload first. And the cover image will be kind of a landscape mode. So whatever you will place in portrait mode, you will add a bit of white on every edge that through click on Upload Image. And I'm using my iPad obviously. So I'm directly selecting photo library. And this is the one I want to use. And you'll see it's really weird because it's cutting everything. And I don't know, maybe it's a four by five size. So to solve this problem, you go to Procreate, tap on new Canvas. And I will get a screen size just because it's kind of a landscape format. And I will insert the photo I just used. And now save it as a JPEG. Save image seems a bit complicated, but really it's not. And they will replace that image and get this one uses. It. Doesn't really work. Yes. So it's changing everything. And I don't know if you can use this, you can't. So this is my cover image and now I can give a title. And here in the project description you can write whatever you want and you go down and add more content, image photo library. And there I can get the one I wanted to place in the cover. And now it's full size. No problem. And don't forget to hit Publish. 3. Selecting a photo : Let's select a reference photo. As I always say, you are welcome to use whatever personal photo you have, or even a celebrity. And I will just advise you to be really cautious about copyright issues because you never know what you will do with this art. And maybe one day you will want to, I don't know, sell it or make items with it. So it's better if from the very beginning you only work with copyright free portraits reference. So I've gathered almost 200 reference, mainly from Unsplash. If you don't know it, it's a very, very cool website where you have a ton of furloughs and all free to use. So I will let you just scroll through the board and you have the link just in the resource section, and select the one you want. Really. It's a matter of taste for this particular technique. I think that long hair is really working very fine. You can really have fun with the hair. So I want to have women with long hair and reflection in there. I mean, this one has very long hair, but it's very dark, very flat. There is no reflections. This one as very nice reflections. But I think the heroine front of the chin and the cheek will be maybe a bit too much. Once painted. I like this one. There is a light here that is really cool. But I think it's better if the eyes are opened. So I could get this reference and take eyes from another photo. And this is something I would do, but for the purpose of learning in this class, I'd rather take a reference with a good lighting and everything cool in the same photo. So I like this one, for example. And it's smiling, but not so much as you see teeth because teeth are really not cool to paint. So I could be this one. Let's place a heart on it. And what else? I've found another one earlier. So this one could be nice also what I don't want to bother with the glasses. Really. Just today where I think maybe tomorrow I will take it and say, Oh, very cool or friends. This one is a bit too overly it down, it will be difficult to get some contrast in it. And this one is nice. I like the hair, but the face is really in the shadow and it will be difficult to work from it. Love this one but not too much hair. So S1 is nice. But I'm afraid the little parts of the fingers they will look at. So it's better if you see the complete hand at here. S1 could be very interesting. Tricky angle, but as we will trace over the photo, it's not a big deal. Well, anyway, I think I will use the first one. Just because some of them are already painted them. Swine also, but the face is a bit to the same value. There is a lack of contrast. I don't like this. This one is interesting, but I used it already in another class. So I won't always paint the same. And this one is really nice, beautiful girl, but same. The face is maybe a bit too in the same value. So I'm not really sure about it. And I will avoid teeth like this one for example. So we will do the first one. I think it's maybe sometimes first ID is a good one. So if you want to download the image, you tap on the three dots and download image. This is supposed to be a Vladislav Nico enough. The photographer. So it's cool if you credit him. So if you want, you can tap on it, tap on it and you will get a really large image, hold long and add two follows. So let's move to the setup. 4. Setup the canvas: Let's set up our canvas to open Procreate we can plus new canvas. And now we will need about 10 layers. So depending on your iPad, mine is an iPad Pro 12.9. It's true, maybe three years old now. And I know that if I make a 5000 by 7000 pixels at 300 DPI, I will have 11 layers. This is just what I need. I want to have the biggest canvas possible was my iPad. So make some tries until you find something about this kind of a portrait size and creates, right? So it's a bit, all we will see how it works and maybe we will lower it a bit. Click on the wrench, add, insert photo, and we will insert the photo we have downloaded and tap on Fit to Screen. And here with this technique, I want to focus on the face, not on the background. I'm not interested in the background. So I will enlarge my image. She looks very cool. You see just centered and very interesting, Very nice. Okay, let's add a layer on top of this, rename it, drawing. Get the photo and lower the opacity. Just about maybe 50 percent something. I would say light enough. So you're not disturbed by the image, but dark enough so you can see the image. 5. Drawing: What we will do is trace over the photo. But tones just follow the lines because you will end with something a bit too soft, a bit too smooth. And it's better if we make kind of straight lines. You see, if you took my other class are portraits. This is a technique we used just because it gives more character, more strands to our drawing. So you can, of course use a bit soft lines. But it's better if you try to make various traits. Instead of two curvy. Believe me, with this technique, it's important. And this one doesn't have too much contrasts, but we will invent it. It's not a problem. And I'm drawing the features, of course, like the eyes. But also I'm drawing the shadows. You see, this is kind of the map we will be using for painting later. So I need to get as much information as I can just to be sure I have the correct amounts of information I need. And maybe you will need more information than me. I don't know. That's okay. It's shortest as its own style and way to work through. And I'm trying to map the shadows. Like here, for example. For the hair, of course we won't draw every latest trend. But I just want to focus on the big shapes. You see there is a dark part here. So big strands. And of course, the outer shape. And you see this technique is really working very well with the hair. Okay? Not too much details. Just the earring. Remove it and look if you have enough information. You forget something. Nope. Okay. One little tip that is really, really important. Once you have your map, because we can call this an app. We will get the Select tool on free hand. And we will select just the eyes. Tap on the arrow and you will enlarge a bit. Vi is just what I could say about I don't know, 10 percent more. So of course you make the other one. Just because when you trace, the eyes are always too small. I don't know why. It's really kind of a rule. So plays by the image. And look if it's quite the same position. Okay, seems good to me. Looks like she has a problem. 0. Never mind. Okay? And drawing layer, tap on the N and place it on multiply. And I think that's it for the drawing. So next video, we'll see how the brushes are working. 6. How to use the oil brush: Brushes. I provide a folder with four brushes inside. So I have a medium brush. This is just a regular airbrushed from procreate. But I think it's easier when you work on a specific technique to have everything gathered in one folder. I have six B pencil that we used already for the drawing. This is just a regular one. I have the oral heavy round and this one was provided by Procreate, I think last Christmas. Whereas another set of brushes and it's called All Star. So I don't know if you have it already, but just in case it's here. And the next one is for the paper. I will explain it in the next video. Right here we will use the oil heavy round. So let's get a color, whatever. Pink, because I think you never have too much pink in your life. And let's place its maximum size and maximum capacity. Okay, So this is a brush that is really pressure sensitive. So if you press light, you have light color and if you press hard, you have a heart color. And speaking of pressure, I would like you to look at something. Tap on the ranch. Tap on pref, tap on, Edit pressure curve. And make sure your pressure curve is looking something like this because usually it's trait. But if you make a bit of a bend here, on the lower here, your pressure will be really easier. Your stylus. I have wrist problems. So this was really a game changer for me. So just do this and make some tries until you get the correct amount of pressure. I mean, I don't have to press too hard. This is really very, very cool now. So what I want to show you that there is a way to use this brush. It behave a bit like a regular or pencil brush. I mean, it really depends on the way you are brushing. So let's get another color. You see if you go lights, you can mix the two colors. Or if you press hard, you can't cover the one below. And if you are going from the white to the shape, you will incorporate white, but you have fewer going from the pink to the outside. You will incorporate the pink inside and always vary the pressure. So this is really cool because you can have nice effects. And you can really blend colors together you see. So you can brush the other way and have a kind of a feathered effects. Then of course you can use the smudge tool with the same brush. And for all the smudge tool, I would advise you to go about 60 percent. And you can also incorporate colors together. But you see the white and the background is really bothering me. So we will use a little trick for this. Okay, so my conclusion after this that it's really not easy to work on a white background. So we will use a colored background. So you get the medium brush on, you get a color. I don't know, whatever. And let's fill this. And now I get my oil heavy brush round. And I will work on top, directly on top of the color. And you'll see this is getting ready easier to work because I don't have that white in the background that is really disturbing. And if I don't press too hard, I will still see the color below. And if I press harder, I will cover it. So very cool. All right, so let's move to the painting now. 7. Under skin color: Painting. And before we begin, I'm looking at my image and I think it's better if I enlarge a bit and center it differently. So I'm only drawing layer the arrow and enlarge this. Just because I want my focus to be on the face. I can delete my image. I don't need it anymore. Right? So let's create layer and place it under the drawing. Rename its kin painting. I mean, painting not mean t, What is it? And we will have another layer for the hair. And this why I will paint it with a color that is the under color of my skin. For example, this image that I painted with this technique, I made a layer for all the skin with kind of peach tone, a bit light. And this is this color here, so you don't need to cover everything. Was your brush. Another example. This one went for a very bright orange. Really, I went for something very, very strong, which is my underlayer that you can still see here. This one was more lights. I went for something pink, very light for the under skill that you can see here. And this one was more yellowish and this is a tone I use. Maybe this one. Go back to our color and let's get the medium brush. And to be sure that we are selecting the correct color, Let's place the image either on the left or as a reference for two, maybe your reference photo is cool. So wrench canvas a reference and it's opening a little box. And you can take an image, import image. And let's get this one so you can enlarge. So that's quite cool. So you know, where is the face? So now you can either select a color directly here, but I wouldn't advise you to do this because it's important that you learn how to pick up a color just by trials. So it could be cool to maybe tap on it to have a base so you see where it is. Maybe I will take something a bit ITER. What you want to select is a mate value, meaning not too dark to light. And let's take the airbrush. And I'm using an average because I don't find the edge of the face to be too hard. I'm including the neck. So I see what I lack the edge of the shirt. So I will invented don't forget the ER. And go back here. And now fill it. And you'll see you have a threshold here. It's about 75 percent. And if you swipe left, you still keep your stylus on the paper. And if you use traits, you will feel everything so you have to find the correct balance. Yeah, I think it's called and now tap on it. And Alpha Lock, meaning that we are only painting inside the colored pencils. 8. Painting the skin - part 1: All right, so now let's take our heavy round brush and lies a bit this image. And if you don't like this color because you think maybe it's a bit too bright, too pinkish. You go to the Magic Wand hue saturation layer. And let's move this. Maybe a bit brighter. Question is, is she more pink or yellow? Ish. She seems to be very light. Lighter is better. I will begin by the darkest part. Before we begin, we need to place texture. So on top of the drawing, place a layer, rename it texture to the IT is to place texture mimicking the countless texture. But we need to place this first before painting because it will darker and a bit everything. So it's better if we do it in first, because otherwise our colors will be a bit strange. So go to the texture layer, take the canvas paper, brush, get black. Maximum size, maximum opacity. And with one single brush strokes don't lift up. You feel everything. Okay. Seems ugly, isn't it? And now you go to the N and you will set to soft light blue. And what it does is it's giving a texture, but only where you have the pixels down. Can you see that? So it's very light. But in the end you will see that will be very, very cool. To go back to skin painting, get the old heavy brush. And I will begin by shadows. So colors, I could make all complete class about color. It's a never-ending story. You select the color from the skin. And we will Go on l. So lower writer, you see L. And also, Let's move a bit this color here, right? So it's not the same color as the skin, It's a bit different. So I'm looking at the photo and I'm using also my drawing if it's disturbing. Just lower the opacity of the drawing layer. And change really very often your color. And after It's just a matter of eyes. What I mean by this, I see things. I'd see colors that maybe you don't see. That's okay. We are all different. So I move a bit my slider, again, a bit more. Just to have a slightly different color. Just because I don't want to be too, too much the same. You see this one is quite different from the first one. Sink to vary the pressure and vary the colors. And we are not stuck to one color. We can go back. We can cover it. We can do whatever we want, but we can't erase because we will erase them. Solid background as well. All right, so it seems to me that it is purple, but I think it gives a very sick look, so I'm quite sure will change it. Still moving my slider. Sushi is very light, so I will for sure exaggerate my colors. And don't forget that skin tones can be really anything, anything you can't have every color in the skin. I'm using a khaki color. And the more you look at the reference photo, the more colors you see. I see a hint of blue here. So you have to be brave with color depending on your style, of course. And remember, you don't have to feel everything because we have a solid background. So l down, left, down, right. I'm trying to have my colors in different places. Nudge everything in one single place. It's mature. And if you don't like one color, you can go on top. Maybe it's a bit too one. That's better if I get something a bit cooler, but pinkish, more than a reddish. And if you press very light here you see I have my blue overlapping my purple, and I have this pink. If I press very light, I will create another color. You see very, very light. So usually the upper lip is a bit darker and the lower one. Just looking at the reference. And as my lips have somethings is why I'm taking my smudge tool and I'm pushing from the red side to that. And can you see the texture now? And from time to time you will hide the drawing and see if it's for the moments it's eg labor laser will be better in a moment. At some point, I like to make the hair to help me balance the colors. And I think it will be timed to begin the hair. 9. Painting the skin - part 2: So I will make a layer just for the hair, just for the color of the hair, just to be accurate with my skin tones. So I will take the lesser tool on free hand and leeway you will tick on color fill. And now I'm just shaping my hair. And for example, here there is a strain going outside. I won't fill it for now. I will do this with large brush strokes after. So you can slightly overlap the edge of the skin just to be sure there is no white. So here is the same. Guandu, the loose hair, we are just the big shapes. Okay. Very good. And maybe I can get my medium brush and just soften a bit. Some edges can be rough. With the psych tools. I'm just pressing very light. So as a color curates, I'm not sure. Yeah, maybe it's better. So go back to my skin painting, get the heavy round brush. And I'm using the same color for the eyebrows. Just be light on your pressure when it's lighter. And get a lighter color because here it's a bit lighter. Let's make the eyes, it will help me. So white sclera, It's never, ever, never white badge. It's pink, It's whatever you want, except wide. You will see a lot of realism. So get dark color for the outer collar, which is very, very dark here. And I'm getting an almost dark, almost black for the iris. The pupil, sorry. It's very dark. So let's place a layer here and call it details. And I will get the full white and mix some reflection. Yeah. Makes all the difference. Don't you think? So good to the skin painting? And let's work on this. I I see a blue green here. Just a bit on the edge. I guess it's a makeup. So I'm placing best next to it. And just by gently rubbing very, very slightly, I can incorporate the two colors together. Maybe my blue was bit too blue. So I go on top of it was my light color and just lower blue, but keeping a bit of it. So this is ring. And here I get the smudge tool and I will push a bit my pink purplish wherever it is. And now it's time to hide the drawing and try to have a nice, I go to the details layer. And I will take this. So it's on a separate layer, so it's easier array. And if it's a bit too large, too visible. Kennedy raise. Just because you see the separate layers. Raising likely. And I feel my eye bro, could be a bit higher. Rate, higher on be easy for me. So I select the skin painting and drawing. I select Freehand to remove color fill and just take this. Tap on, Add. Select the other eyebrow 0. Click the arrow and just move it a bit higher. And yes, I know there is a wide edge. So remove alpha lock and feel. With the background color. And boom, you see anything wrong here. I don't see that. Caret. 10. Painting the skin - part 3: So I will speed up the process and had some music. But basically I will just go on doing what I was doing. Okay? Okay. So I have some details on the eyes. And this layer needs to be a bit smudge. Now, let's take the smudge tool. I said about sound. I don't know. 60 percent capacity may be. I think it's better if I incorporate a bit my colors. So you don't want to smudge everything because it will be 2 to week. And I'm looking at this and just seeing some different colors. So it's time to cooperate a bit the colors, I see this. So when you want a large smudge, you take large brush strokes. Just you see here it's a soft edge. There is almost no edge are truly. So this is really the color like smoothing way, like here, for example. So I'm pushing it. But I don't want to touch too much the lip edge because it's quite defined. So I have a lot of work on the nose. I can tell. This is really a tele Kate's complexion. Always the most difficult to paint for a first layer of color. Just to make sure my values are correct everywhere. And softer edges like here. Go back after. Okay, So seems good to me for first layer. Okay. 11. Glazing and details: Let's accentuate on shadows. And for this, I will place a layer on top of the skin painting and I will rename it glazing. Glazing is a technique used in regular oral painting. We will place the upper city about 60 percent. And I'm still using my oil heavy brush. And I will I'll take a darker color. Just I want to exaggerate. Yeah, that's the word. Exaggerate a bit. My shadows for the skin in the neck and tap on clipping mask. So it will be only top of the skin below. I feel all this part is much better. Yeah, there is her on top of here. Just glazing is really cool. I think it's giving fairing eyes effects. Well, for our nose is really falling here. Comparing to this suit, my drawing that has a problem. No, it's my painting. Okay, so go back to skin painting. And now I'm using a very small brush. And it's time to really fix the details. This is just copying. Just a word. Maybe go on the details layer and make the line of the mouth. Because when I remove the drawing, it's net. See that here it's a bit too high. When you begin to really add details. It's very, very nice. But her nose seems to be a bit too wide. I compare to this. And if you have a problem, maybe it's on the glazing layer to be snatch the edge. And so on and so on. Just look at this little nostril here. Very nice. So every time you are adding a color to the painting, you can pick it up later. Just look at this and see maybe it's a bit too light. Can see, it's too light. And when your line is too large, you take the color next to it. And you will just really narrow the line. Smudge a bit. So you don't have harsh edges because this is kin. I see under the nose is a bit of a reflection. Just delights is missing. So I will take almost plain white. Pure white, I would say. Sure why it is cool. So pure white with a very light touch. So if it's light, it's not pure white. If it's heavy, it's pure white. So very, very light touch. Remember this is a painterly technique. So you really want to see your brushstrokes visible. Don't smudge to match. Just the correct amount of smudging. I've lost my eyebrow. So what about eyelashes? I will go to the details layer and I will add another on top just because I don't want to mix up my lashes with the eyes. I always have problems drawing lashes. So bear with me. Get the This one might be because it's really not very dark, very small. This one is supposed to be a bit darker because it's a shallow well, I'm not sure about this. Will lower the opacity. Okay, so let me finish some details and I'll be like. 12. Painting the hair: So I have finished for the moment, a face. And there is no magic here. It's just adding small touches of colors. And I want just to show you what I have on my different layers. So I have the layer with the texture and you see if I remove it, it's quite different. The eyelashes. So it's quite a nice detail. And I have lower the opacity. A layer with details. They really make a difference because this is lines around the eyes, the mouth line. I have the hair paintings, so we will work on this right now. The glazing, and you'll see glazing is really making a difference in the skin, of course. And it's time for the hair. And here is really fun part. So let's plays back the drawing. And I want to work on really the big masses, big colors. We will go in details later. And I won't use alpha lock for this because I want my edges to be a bit more lateral, a bit more on Harry. How could I say? So? Let's begin by the dark parts. So I take the color and you can't do this this way because we are going outside of the sphere, just going a bit down. Bigger. Not that big. And don't forget that if you go from the white, you will include the light. So it's better if you go from the color and you mix it. Okay, I'm still arrays. What's too too much in the way? Don't be shy. And the stage where you can go really dark, really just copying the image and looking where is the dark? And the same was the light. And of course the light is not exactly on the dark. It's obviously another part. But when you grab a bit of the dark color, it's mixing together very nicely. And this is why we don't want to use our follow-up because we want to go outside of the drawing and have something a bit more natural. Let's get a lighter tone. We will smudge this in a moment so you can really go very light. So this is the first stage of the hair. Kind of very loose, very large. And now get the smudge tool and go. So you can make Z form. You see I'm going back and forth, back and forth. Or you can just go one-way mirror. I don't smudge too much. Depends if you want to push the light in the dark, push the dark, and the light you see this is almost instantly giving very nice effects. The edges here, we will go later with smaller brush strokes. I'm going on the edge just to give it a more natural feel to it. Pushing the color just to make loose strands like there is here. And I don't want to copy exactly, of course. And here I feel I could use a bit more dark. Or is it going? Just remove the drawing. Time to clean? And let's do this a second time with a more colors, more variations. Just trying to figure out the colors here. Maybe this is color. I could go more on the oranges side. Yeah, red hair. She's better. So now that you know how it will behave, you can go a bit more dark. Exaggerate some shapes, vary the pressure. 13. Hair details: Ok, and let's place a layer on top of this one and use a very, very light color and place it on 60 percent about to make a glazing. Just want to glaze where it's really light, like the back of the head. This part as well. And smudge this bits. Just to write this. This is really cool. So another layer on top of the hair, below the glazing and very, very sin size. It's about a 3%. I'll make some loose hair before persons because three really, really small. An amusing, quite a dark color, but can vary the color, of course. Just because there is some loose hair. We'll see if we keep this or not. It's the very end. Still. It gives life to everything. Especially she has a lot of loose hair. Well, this is supposed to be oil painting, so you don't want to go too much in detail anyway. Just, just a bit. Maybe you think it's a bit too strong so you can still go to Gaussian blur and blur this very slightly like 1%. Think it's better. I'm not sure you can't see this from the camera. 14. Painting the background : And now you have to make a decision. Do you want to paint the shirts or do you want to be just a background? I would go just for the background. So below this kiln, other layer. And this is background. And for the background, I like to use something related to the eye colors, but as just a habit I have, are not compelled to do the same. So go full size and see how it goes. Pretty well. I would say. You see so very slightly your color as always. So I would say this side should be darker than this one. So for now, don't brother too much. It gets better. Not to make the shirt. You see I'm slightly moving the sphere, the color and making visible brushstrokes. This is the 0. It will smudge this a bit. If you want or not, just a matter of taste. And now as this carry part, so remove this, you don't need it anymore. And I would advise you to go outside of your painting, swipe right? And duplicate because you want to keep the one and play on, on the other one. Because what I want to do now is merge everything except the texture. Texture is still on top of it. And now that I have everything together, let's merge this. As for now, the head is really sitting on top of the background and it's very cool to integrate it. So get the smudge tool. And you can go as crazy as you want. You can just go this way. Push inside. I like this effect. Same here. Or the other way around, or the other opposite way. Soon as bit strange, you know, what I don't want to it is to have harsh edges. I'm not especially in love with the edge of my hair so I can really push it. So not too much though, because you don't want to ruin everything and to lose all your nice brush strokes. We can still go back in, add more definition rate. For sure the outer edge can be a bit blurry because it's in the background anyway. And you have fun things to do like this. Pushing out the color. I really don't like this edge here. So blur this a bit too soft and push inside or not. Not found. And what I did here, nocturia, long life much my little here. There's a bit of O k. Let's push a bit background inside. 15. Final details: And once you have finished your blurriness. Other layer on top again, I can go back. Give us maybe a bit more definition to some parts because maybe it was too blurry. You want to show back the outer edge. It's really up to your style. I would say just an option. I feel she could use a bit more brushes. Bit more visible brushstrokes, bit more orangey. Just more visible brushstrokes? Yep. I think it's better or not. I don't know. Yeah. It lighter. 26. It's done. Well, it's a painting, so is it ever finished one day, I am not sure of it. Maybe it's never ever finished, but counts till look at it and say, Oh, for the moment I will add a bit more loose hair. Surely I like kids didn't like it earlier, but now I want to have some cares. Don't forget to sign your art. So I hope you like the class and can't wait to see what you're doing with it, even if it's maybe a bit complicated.