Draw with me | Real-time Portrait Painting Masterclass | Cara Ord | Skillshare

Draw with me | Real-time Portrait Painting Masterclass

Cara Ord, Illustrator & Graphic Designer

Draw with me | Real-time Portrait Painting Masterclass

Cara Ord, Illustrator & Graphic Designer

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15 Lessons (3h 55m)
    • 1. Introduction

      3:20
    • 2. Sketch

      23:15
    • 3. Colour Palette

      5:01
    • 4. Underpainting

      19:20
    • 5. Re-structure

      4:43
    • 6. Eyes

      31:22
    • 7. Nose

      13:14
    • 8. Mouth

      16:37
    • 9. Skin and Face Structure

      22:34
    • 10. Hand

      33:56
    • 11. Clothing and Fabric

      24:55
    • 12. Background

      8:02
    • 13. Hair

      20:31
    • 14. Tweaks and Corrections

      7:19
    • 15. Final Thoughts

      1:18
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About This Class

This class is Bob Ross for portrait art. Come along with me for a real-time painting session where I go through my entire process for drawing a digital portrait illustration.

In this class you will learn:

  • How to use values to give your portraits three dimensionality
  • Tips for adding life and personality to your portraits
  • Detailed lessons on drawing each feature of the face
  • A fool-proof process for rendering a portrait
    +
  • Basic knowledge of how to use Procreate on the iPad to create your digital art
  • How to edit your art digitally to save you time

I am so happy to be sharing this class with you. As it is real-time each lesson is quite long so find a comfy chair, grab your art supplies and be prepared to draw along with me. Below is a taste of what we will create together

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I recommend having a basic understanding of facial anatomy before beginning this class. As this class focuses more on how to render values and paint rather than facial structure. For this reason I recommend to you two of my other classes. The first is How to Draw a face, as the name implies it is a class which runs in-depth about facial structures and anatomy. I also recommend taking my short class Mimicry to Mastery: Drawing faces from reference, as this class will help you learn how to take what you see in life and photos and translate it into an illustration. Links are below for both classes.

If you have any questions feel free to message me through the discussion. Now let's get started and create a portrait masterpiece.

Meet Your Teacher

Teacher Profile Image

Cara Ord

Illustrator & Graphic Designer

Teacher

My name is Cara and I am a professional Graphic Designer and Illustrator with 5 years under my belt. I am very passionate in what I do and love to share this passion with others. 

Other loves of mine include ice skating (I am also a professional performer), dogs, nature and snuggling up with a good book on a rainy day.

I am so excited for this opportunity to share my knowledge with you all and learn as well. I hope I can become a helpful resource for you and I am here at your beckon call if you need any assistance with anything I offer.

See full profile

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Transcripts

1. Introduction: Hello, everyone, and welcome to this class. My name is Kara, and I'm a professional graphic designer and illustrator, and I'm excited to introduce you to this brand new class from me. It's something like I've never done before. We are doing a really time walk through off a portrait illustration. This means you'll be drawing alongside me from sketch right to finish. Artwork will be going through everything like how to renda your skin turns and bring three dimensionality to your portrait. It's as well as adding a life to the figures inside them. I'll be going into detail on the features of the face and giving you tips and tricks along the way to really and make your quarter its shine. You can see on screen now a couple examples of the work, which I have done previously to give you a hint at the look we will get when we finish those portrait's together. This class is fairly simple. The project is for you to draw alongside me, using the reference you can see on screen. Right now, this is an image that I have captured of a close friend, and I am giving it to you as a gift to refer to and create your own beautiful portrait. As this is a live Kloss, I will be talking to you at the same time as I'm illustrating. So in case any of mine notes, old lessons seem to wonder a stray. I will also putting the tips and tricks and the key messages up on the screen for you to read and George down for a later mind up. This class is all about rendering. It is not so much about learning the structures off the face, but how to paint them how just sculpt them with your colors with your values. So if you would like to learn more of the structure of the face, I recommend my two other classes. 1st 1 is called Have to your face, and the 2nd 1 is called Minute Crete. Tomas Tree Drawing from reference thes two clauses take you through everything you need to know about anatomy and structure when it comes to during a portrait, and I recommend during them in conjunction or before you take on this class to access your project, simply go to the project panel down below, go to the side panel and access the project resources. There, you will find your reference image in any extra instructions you might need to get on with this project. And with this class, I'll be washing on per great for the entirety of this class. You can look along in the same program with me. If you do what that will give you a better insight to what I'm doing. You'll be able to use exact tools and brushes that I'm using to replicate the work that I am showing you. If you want to use a different digital program over traditionally, you can do so as well. All of these tips, tricks and advice and all my techniques I can work along digital and traditional workspaces . I'm very excited to get started with you, and I can't wait to see your projects. So how that I hope onto my iPad. You get onto your device all campus and we'll get started 2. Sketch: hi, everyone and a welcome to the I've had. As you can see, I've already popped into Per Create. Ah, and I'm in my gallery and you could see a few of the objects which I've done. Ah, Wigan. You get started really quickly because it's going to be a long process getting these portrait's done in real time. So the first thing I want to do is to click the plus symbol in the top corner, and we're going to start a new canvas. It's portrait, so I just wanted to be a simple a four in the portrait orientation. Now you can see my full canvas right here up. What I like to do before I get started is pop into the layers tab, go to background color and choose eight mid turn. I like it to be more of the muted colors, and I'm going to stick with this sort of brownie orangey back turn to go along with the tree and the general colors you see in our portrait for reference. If you want to, you can also go in and add your reference image, which we have in our projects panel now onto the canvas to give you a bit of assistance, but I am going to be using it. Are just on my phone. I'll pop it up on the screen for you guys later so you can see it. So now we have Canvas it. I want to go to my brushes. I'm going to pick a sketching brush. I like either the dough int or the, uh 60 pencil for sketching. It feels very natural in your hands. I'm just going to pick a random a darker color Teoh get started with on my sketching if you want to go in. And, um, Lund, how I get the anatomy right and everything. I have a couple great causes for that one is gold. How to draw your face and the other is cold. McCoury Tomasz tree drawing from reference. I would be really great for you right now. I was gonna get started on this sketch now and just kind of one of looking roughly with head is going to go on this pace of paper. This may be completely wrong. Is maybe right it does. It gets a sense of space for the illustration. As you can see from me during this. I'm cropping in on her a bit from the reference picture I gave you. You want to make sure that the island is staying in the center of the face. You're really cutting that That up along, um, inter quarters. The island is right in the middle day, and we have decided to add a hand into this boy. You guys. So we have a bit more of a challenge here. It's at the moment. What we're doing is just looking in the general shapes of the composition. - You can see what I'm doing now is I basically just wanted to draw the hands basic shape, um, and readjust the position of it on the face because it was a bit too high. Um, you can see how when you look at her reference her, uh, the finger here, this one is cutting down basically just on the chin. And the pinky is far below it. So I really just wanted to get an understanding of where that is in proportion to the rest of her face. And she has a lot of hair, so we really wanted to draw on her shoulders. But just for a reference, they should be sitting roughly then and because I'm using reference. I tend Teoh when I'm up this close, instead of drawing her actual physical wrist where it would be such as like that, I'll just go in and draw where her clothing is, because my I can see where everything else is meant to be. You can go in and you can draw theme clothing. If you I would like to war, go in and draw it out directly from where, how you perceive her anatomy to be. It's always good practice to choose her anatomy. I'm going to go in, and now I have a bit of a reference and start drawing her features. Oh, you may have known if you have watched any of my other tutorials already that I love starting off with the I. Now our model here has a bit of an Asian dispense, so I shape May may be different if you're used to doing um or West, and look, you can see there's an upturn in the base of her eye, Then her eyes are a bit smaller again was still just a blocking in shapes here. Basically want to go through do as much of a detailed sketches. You would like to uh and then once we've worked out three kings of that, we can go through and start painting. I like to draw in where the eyelid is in such because Ducati perspective about the full size of the I. Some people make the mistake of drawing just the I and thinking that it looks too small in the face. But they're forgetting all of those those wrinkles around the eyes of the island itself, which really increase the overall, uh, visual value of your eye. And she virtually has completely black eyes. Uh, this is to do with the lighting, but also she is my friend and she does have very, very dark guys. We are doing this really time, so this video will be a lot longer than you are used to. Uh, this has been requested for me, actually, quite a few times. Teoh do a real time illustration so you guys can work along directly with me. I thought it was a fantastic idea. Also big, different for my normal tutorials. But all the same, I think it's a very valuable lesson, as you can see him adding in little details like her eyebrows. And now I'm moving down to her nose. Her nose is sitting just above the mid point between her eyes. So if I go from her, I down to her chin. It's just sitting just above the mid point of that, because it's a little upturned. So we're gonna do what you would see in my heart it or face video. We're gonna draw our CO V in to go to a good nose for this technique, and then we're gonna bring this to descend is down and cover them in to those little T drop shapes for her nostrils and then bring these curls account for the external part of her nose. No, the reference image I picked for you guys I picked really carefully because I wanted to be something everyone could achieve a beautiful Alec on. So it's got very minimal like flat shadows. It's a very low contrast. Peace also, her hair is not flying through in into the middle of her face. That's straight on, so we can really look at those facial structures and the facial planes for our shading up. So please on do follow along with me as with doing this. You also want to go in here below the nose. Um, and above the change, we want a kind of marking where those measurements fit in with her mouth. Hi. He and we want to bring those lines down from the eyes to see where her mouth fits in. Remember, if you review again, how did your face? Or if you review my class drawing from reference mimic Rita Mastery, you will see the measurements I'm getting here. I don't want to spend too much time going through all of the specific measurements just because there are those classes available to you and this class is leading more into the actual rendering off the face. I just felt like it was important to see the actual structure of it being built as well. Well, you can see from me during my sketches is very much viewing out the face, making mistakes and working with them. I didn't prep this class bike drawing this odd work. At first, I wanted it to be a straight like I've picked my reference material and not see it. We're all working in this together of street from word go. So you're really seeing what I do to get into it illustration. I want to go in here and I want to secure where? Her cheekbone. She's got quite strong cheekbones, and I think he has a soft A drawer than what I put in. So really kind of lineup that Joe for her, Um, I actually go and bring her her face in a little bit tighter. I think I've made it to you wide again. That's the beauty of doing odd. You can make mistakes. You can undo them, you can redo them. And that's one thing I actually love about. Um, digital art isn't my ability to go back and forward to fix things. If I was doing this, get on paper like some of you may be doing at you could simply a racing and keep going. It's a bit could notice with her year, unlike, um, normal in enemy it. She's got smaller years, so it doesn't quite line up with the bottom of her nose here. It actually comes a little bit higher. She has a thing called a detached globe to which is that the load comes around more like a smiley face rather than connecting straight down like that. - I feel like it actually comes down and more because peace I'm just gonna go into my razor and my pencil and just kind of correct those shapes. Uh, one thing I like to do when I'm working digitally is used the ability to zoom in and out. So I went in and I made all of the the features I wanted to, um and then I pushed out. So now I can see them all in conjunction together, figure out what I like about them when I don't like about them. What's working? What's not working? So I know her lips just don't seem quite right to me. So I'm just feeling them out again. This is a sketch face. It's a great chance to feel it out. But like if I don't get it right now, I can keep working on it. Keep tweaking it, Um, as we progress in the illustration, nothing is set in concrete. Uh, that is one really important lesson when you're working digitally is APS. Even if you're just painting normally, absolutely nothing is set in concrete. So if you have made a mistake and you. You notice it and you think, man, like I'm halfway through rendering my work. It's It's it's not worth it. I'm not gonna change it that Go ahead, take that extra time, change it like it really does change our work. It makes it a better outcome. Overall, I had it once where I'd I basically was about to wrap up my piece in the noticed that on the face of my my character or the person I was during at the time, they their eyes were a bit lopsided. So I had to go through, cut the mat, re re re draw them, took me an extra two hours to finish the peace. And when I was originally intending, but it was really was worth it. So really, take your time with this. I'm you can see jumping back and forth now, getting a bit of the hearing. I like to work between the organic, more free form stuff like the here, and then go back to the structure of the face. I think it gives me a good understanding of the holistic during, and not just focusing in on on the the hyper detail off the anatomy not going to put too much detail into her cow just yet. I'm probably just gonna block out he There's a noticeable Penn in the room, but honestly, when it comes to doing Portrait's, the important thing is, is getting the audience and yourself after focus on the face. So if I went in and I made a really detailed a cow that the woollen everything, you will probably just take away from the entire illustration and, uh, the more you're exploring your sketch at, the more you'll notice inconsistencies or issues rinses you'll see he that I just changed that sleeve from having just a normal straight curved to having a more of an s curb because I noticed that in my reference material, that's what it was. And it's it's much easier to do this to lay down your base oh, a sketch and then figure out what the inconsistencies are. What you need. Teoh work on end and change as you're progressing with the full piece of art like example. Now I can see with the lips and everything getting done that her finger was in completely the wrong place. You guys have probably be noting that for a while. It's something where you really have to get into the the artwork to delve into it, to notice all these little discrepancy is that might appear. Just gonna use that A little cutting tool again. Just a tweak where that thing is going, I would love to hear down discussions and challenges you might have had while you're going through this sketching process. It is one of the more difficult parts of bringing together illustration because this is when you're really focusing on getting that structure right, Getting that good skeleton so you can go ahead with your illustration full, um, full steam ahead and not stress about the eyes being monkey Your anything like that. Uh, I wanted to do this sketching for you guys that you can see that not everything is fully formulated. Like when I enter an illustration, I'm a professional oddest, and sometimes you just have to feel it out. You have to feel with your instincts to know like what you're drawing is good or bad or right or wrong. It's not all about finding the mess of the piece on and figuring out for maim or, uh, analytical side. Sometimes It's just going back and forth and really identifying Thean Adami from your personal experience. You see, people every day you're basically studying for your art every day. Every time you look outside, every time you talk to your friends or family, Um and you should just let your brain kind of take over, uh, end. Explore, explore the face. Explore what? You what you want to put down on the paper? So now I think that we've got a pretty good, uh, base in here pretty good understanding of, um, what it this drawing is going to be, uh, this is a completed sketch. You can see it's it's pretty messy. It's it's missing features. It's not, uh, an exact final artwork. And that is what I wanted to stay, as are you. Anything I might do is draw some lines in, like, thes at indicate where there is more shadowing area coming in tow, focus on blocks of color. But really it's in northern known a central part of your work. Eso I want you guys now. Teoh, take a rest. Go get a cup of coffee. Leave your sketches where they are. Return. Take another Look at your reference image. See if you need any tweaking and get your sketches up to where you're happy to move forward and we're going try next video and talk about the colors and and really start figuring out where we want to take this full digital painting. So I'll see you after a cup of tea. 3. Colour Palette: Welcome back, Teoh. The video Syrians. I hope that you enjoyed a cup of tea of relax and may be adjusted your sketches a bit to fit in with the new things you see coming up in your reference we're gonna do a quick of your right now in this one is going to be on designing our color palette. The way I'm going to work through my illustration is one of two ways we're going to be going straight in with color. Alternatively, you could do the entire illustration in black and white and work on your values and then at color in later, many artists due to this. And if you are interested in learning that version or a drawing a portrait, I've been one happen to make a second video series where you just let me know in the discussion. So what we're going to do now is add a and New Olia. Once we have had this new layout, we want to go up to the tools. Bob, we want to go into ad, which is the first thing, and come down to insert a photo. I'm going to go into old photos and I'm going to pick out our reference image here. Now I have our reference image. Doesn't need to be that big. I'm just gonna plop about there in the corner. She's not going to be there for very long now. You don't have to do this. You can do your colors by which is what I normally do. But it is easier to get a sense off the total values of by doing it this way. Now we have an image. We want to add another new layout. We want to grab a solid brush er for this act to go down, see hot air brush and we want to start color picking so we'll go in heat. Our photo. Let's start off with skin tones. We want to pick a mid toner to the round her cheek area. So pick that if you want to draw out a nice blotched there of her mid turn, then you want to go into a shadow tone and bring that out here, and we want to go into a highlights just above her eyebrow, so that gives us understanding roughly of her skin. Turns coming through could also get secondary turns like you can see around her eyes, orbit misty and add those in there You can see by me just doing this in picking up colors randomly from around her face. How did this over cause Really awe in like are a person? And how this low contrast photo has such a deep contrast between its dark and lights like If I just put the doctor said, that's an incredible contrast. Now I want to go through. I wanna grab things like her eyebrow and I want to go get her head. So let's get the doc about here. Get the light of ahead and we'll go through. And also grab these highlight colors as it comes down to it. More of a brown rubbed in the street black over here. Let's also grab a couple colors of her scarf. Her blouse. You see, I'm keeping these organized by bunching all of the colors together, and we'll just take some of her eyes. And so now we really have a base color palette to get started with. You don't have to do this. You don't even have to have an accurate palette based on your reference. You could go through and you could make an entirely new illustration. You could even have it where it be bright pinks and blues. And that's what you're going to do to develop her. She could be like a Muller Qala so she could be in just shades and torrents of red. Here's really 100 ways to do an illustration, and that's why it's so amazing, the ability we have with illustrating. But I wanted to go through to show you guys and do a realistic color palette. There's so many colors on my screen right now. I'm excited to get started with, Um, this was just a quick little exercise to show you how you can grab some of them again. You could go through make other color palettes if you want, and I'll see you in the next video. But we stop blocking out the colors of our illustration. No 4. Underpainting: Welcome back, guys. Now we have our Qala palette. Let's start with what I like to call under painting. We want to make a new Leah and you want to drag this layout underneath off sketch Leah, then go into our sketch lays capacity. I just click the end that which was meaning null. And we're just gonna bring that down a little bit. Not too far just yet. Maybe about 69. I just so it doesn't It's a little bit transparent when we're doing our Kolia. So on here, I'm going to grab a brush to paint with. I tend to do all my paintings just using one or two brushes. Eso I'm going to use my favorite brush, which is the Nika rule brush. I like the texture which has involved with it, and it just feels right when I'm painting. But you can see there so me different options. And if you're using a different digital our program, like sketch or photo shop, you may have a complete different selection again, but grab your brush, textured or smooth whatever you feel like, uh, bring it down in size to it's about that size and then we're going to use our up tool picker and we're going to pick, uh, I drop it'll on on midterm for our skin. And we're just gonna go in paint in everywhere that there actually is. Skin to give us a good base can see the house skin turn of actually really vibrant against the background. Normally, this isn't the case, but because her her skin has got such a nice want to it. It really pops against the the grey brown of the background in the great brown of the tree . You can see I'm sort of saying in between the lines, it's it's easier than native you are. But at the same time, you don't have to stress about being too perfect with this step because we're really just trying to get the color and the the look right. So now I've morning without mid tone. I want to go in in just pick our shadow color and what is going to block in low the a passive debate about brush, but we're just going to go in and block where those based shadows we're gonna be. The reason I lowered the capacity on my brush is so I can do softer strokes and get it a little bit of a sense of where the shadows actually full on how intense the shadows are. Because don't forget, I picked a deep shadow color, Mickey, and see here basically her whole chin is shuddered in comparison to the main part of phase in all under here one. Just take that. I call here and you could see what I'm doing now is now I've got that different seenem transparency of the dot Qala. It means that the light color have and the dot cola have mixed together and make this Grady in midterm so I can go and pull that Grady in mid turn and then I can start painting it that that goes soft against my light color. I have whole new color again, and I can almost make my own Grady INTs, but this allows me to be able to paint in the in, scoped out the face, and you can also see that I'm actually working from quite a distance from my illustrations quite zoomed out. And the reason of this is this is part of my technique. It's gonna get some of these highlight color and before I start doing too much work and slap in where these highlights are going to be, Um, my technique is painting from far away in, so I am just really just looking at messily the colors whether values are going so the doc medium in light times that we've been working with, uh, I'm booking out where they're going to be situated, and I'm doing it from far away. So I don't get bogged down in the details. The fact that what her eyes are supposed to look like what her arm, Tyne space illogical. That kind of stuff. I'm just trying to get an idea of where these turns on men to be sitting. And if you are unsure about jumping around the face like I am and putting in these specific tones as such, I would go on to my one of my classes. I've been mentioning I would go on to drawing from reference and also the how did or face clauses. And on there I have a plane's diagram at this plane's diagram. It shows you, ah, where the features of the face are in a almost three dimensional landscape, which gives you better understanding of how the lighting is actually hitting her face. You can also just very carefully ease your reference material that we have here. So I'm just gonna put pink on her lips. Um, and you can you can take a look at continuously, take a look at your reference and really see ah, what is happening on your reference where those colors and shades air coming into it. You can see here that at the moment, cause I don't have that lip highlight column, Actually, just pulling the colors from my my skin turns and for the teeth to and pulling the colors from my skin turns because that is where the majority of your colors will come from. This is, I believe my eyes were up here. You can see that, too, when you when you look at the color palette, which we have what we pulled up on the on the lost video that the colors aren't as you would expect because the eyes greening great like for the whites. It's not just a straight white. The lips are more of purple, rather pink, although they appear the pink in like in your mind's eye. So you really have to focus on what you're what you're actually truly seeing as Akala and block out that specific color around, then what your mind is showing you because you know that her skin is brown, her lips a pink, her eyes are white, but there's such specific shades that you really have to focus in Learn about, um, I've zoomed in and I started working on eyes. It's not what I was intending to do, but it does tend to happen. So if you ever see yourself doing that, pull back out again. I want to keep my brush as big as possible for the areas which I'm just filling in with color right now, people. And now I'm going to go in and I'm going to get that here going. I really want to eat a block in all areas of your during at the same time. This way, we'll get a good sense of if you're turns it correct. If, for instance, are you're going through, you start working on her face like I have and you haven't blocked in her hair, which is a very high contrast ing feature on this specific model. You'll find that you might make her true. Dole. You might make a too bright, and then when you bring in the hair, all of your turns which have been using are off, so what they realistically would be. You want to get in as much as much of the values as possible before you start adding any details. But this is a state where you can really experiment, play, go back and forth on your design and really see what's working, what's not working, what is looked right and doesn't in working this far away. If I zoom out quite a bit, it looks like a much more detailed illustration than it actually is because my eyes of filling in, filling in the blanks, I'm just gonna put that that most of that is, in fact, for here, grab her shirt or just carrying her shirt. I might just make our brush begin to make it easier. I suggest when you're doing this, especially if you're not listening to me. Ah, if you're doing this on a another illustration to pick some good music, isn't good tunes going? Have a bit of a relax and really enjoy the process? It's quite the repeated going through in college, looking or under painting. Um, as equality can quality the role. Um, I really just It gets your mind focused on on the shapes in the values rather than the details of the design. It's actually a very stress three part of the purse s, which is a lovely change of events, Teoh to the alternative to being overly stressful. And as you couldn't see what I just did. There I went and I picked out a color you want. You won't be able to color pick everything. Um, you don't wanna have 50 different things in your color palette. You just wanna have a based so you can or work on them yourselves in build, build up your illustration piece by piece. Think that's doctor in there like that. And then let's pick some of the highlights. I'm going to use a smaller brush but still be far away just to get these highlights in just so I can get a sense of her. How his flowing Also, because her hair So Doc and my, uh, drawing like my sketches in dark, it's it's nice to get this lighten a tip. I can also show you is now that we've got her hair booked in, I can go to my sketch layer. I can click on that schedule A I can go toe awful luck. And if I wanted to, let's say I'm just gonna go in for white example. I can use white and I can paint in on those sketch lines and I can see where they were in her hair so I could go back through. And I can identify where those curves were that I drew. So if you're having trouble seeing where your where your sketches gone, you go through your campaign in any color over the top. You can make it blue, pink, something really different, and then you'll be able to see where they skipped signs off. Just gonna leave it without that right now. But it is a really good hint, especially if you you're feeling a little lost in. You just need that little bit of a guidance. You get a bit of a brighter brown. We haven't done anything on a hand that you'll notice that a hand when you're looking at it on the a reference image is much lighter. Then her face is a lot less and me turning that there's a lot more highlight. And that's just because of the way the light is really hitting. Hitting her. It's barely any, um, Billy, any shadow in there? But you do see also look at her natural pigmentation, where it gets closer to our fingertips. Ah, where that knuckle is and whether knuckles our hands her hurt hand does darken up quite a bit. Everyone will have this. That's why you'll see when you see more enemy style and cartoon style that people, even even myself. But we go through and we add a pink tinge or a brown tinge to the fingertips to really give it a sensitive, uh, realism in life in the characters. Because that's one thing that you often risking when your arm drawing, uh, less realistic characters on like this one is not having thumb feel really like like, and sometimes I go through like this. I feel like these shadows actually slightly darker than what's realistic, but I really want to define, uh, the contours of where the fingers break in. Where the, um, nail is it really helps me. Ah, whether I'm going back later whether I want to keep it or not, but it really hopes me understand the structure a bit better. And to find it a bit better might take this sort of brownie color. And we use that as her shadows on the inside of milk This ray along Can I just add a little bit of violet eyes And then what we're gonna do? You get it? The light of great no go through with this greens trees extremely texted. I don't wanna go through and just add a bit of that texture If you want to, you could make a whole new lay of your background. I'm just want to do this painting on one layout for now, just in case anyone watching this wants to also take these techniques into a traditional painting. But you can mostly, these techniques are born from traditional paintings. You can really just go in in ah, working a little bit of magic. Ah, the only thing you can't really do. What I'm doing here on its usual painting is zoom in and out. You just have toe stand close and brother away from your canvas. And when you're doing this sort of technique on traditional paintings. It would be using a big brush to really slap in these colors like I am now And then using smaller and smaller detail brushes, uh, to work the rest of the the details through docker patches in here, the textured, the background work on more later. But it is good just to get an understanding of the tonal quality of the entire piece together. You want to use the dark spots here. We want to get their nostrils in there before get about. Hm. And as you can see, he was trying to get a nice illustration moving forward. Now, when we're doing this under painting, when we're doing this color blocking all of this remember, this is not you're finished illustration. This is mapping out your essentials, knowing where things are on the face, working out these triangles on the cheeks, the shape of the nose. How much highlight is in certain areas? You really want it uses as a learning it in explored of exercise. You can see from watching my painting jump from different two different parts. It's it's all about exploring your drawing and learning, learning from it as you go along So that is our under painting. I'll leave it there for now. And that gives us a good sense of our turns in our colors. I can now get rid of our color Palla. Sorry, color palette. And we can work from there to start focusing in on areas as we continue to do this painting This entire exercise will take you however long this video is, or even longer again. Once you finish this step, go away. How? A bit of a relax. Don't look at your drawing for 10 minutes. Come back. You might look at it again. You might wanna with just things. That's all part of this portrait process. Thanks for joining me for this part of the video. I will see in the next the next video. 5. Re-structure: I will. Everyone and welcome back. I've hope you enjoyed another nice break and you've been able to get your painting to this point in this. Listen, I'm gonna be talking through some tips and tricks that you can use to help restructure. Painting these could be used now or throughout. The painting process is a great opportunity you have when working digitally to be able to tweak your design along the way. So what we're going to do now is we're going to turn on our reference. You can have a small reference in your image, or you can have it separate on external device. I over both just putting it there so you can see it. And then we're going to select our sketch layer and our values layer. Now, I wouldn't recommend doing much with this structural adjusting until you have your values, because this is really when you get to see how the face fills out in comparison Teoh the reference in it you might have, or just image you have in your head. So I've got both those lace elected. We're going to go over to this magic wand and we're gonna pick liquefy what liquefy. It does. Is it basically last minute push and drag and pool and change up the image anywhere I want . I'm gonna reset that. I don't particularly want her to be like that. And I want it to be fairly big in size. But I wanted to be really subtle. So I'm gonna come in here. And one thing I noticed is that I want to expend or make a little bit bigger her nose, because I felt like her nose wasn't big enough, So just a quick tap there. Uh, this cheek needs to be a little bit more prominence. I'm just gonna pull that out. You can change the size and working of this brush so I can pull out this knuckle a little more Here. I can change the didn't of the hair. The hair comes in a little more here on this side and pull out that forehead a little bit more. I can make see? I can make all these tiny adjustments now. If I wanted to you I could make it eyes bigger, a smaller. It's really just a great way to be able to tweak your illustration. I can also go in there's a thing called reconstruct. So let's have made her I too big. I can going and tweeted a little bit. And yes, you can just sort of play around with this tool as much as you want to. Other things you can do. For instance, let's say that I am not happy we where my eyes are positioned, I think grab the selection tool. I can grab my eye for an example, and I can grab the coastal, and I can make it larger, small if I want to. Or I could just move it slyly and just repaint the area, which needs to be repainted. Or I can tilt it if it needs to be tilted. This is great if you wanted to move the hand if you wanted to move the eye anything like that, it really just helps you to be able to build your illustration to be exactly what you wanted to be. Tweak that and just bring that I a little bit just the very slightest bit. Then I could just go in with my paintbrush, make sure I'm only on my painting layer and just find my colors and fill in my illustration . gaps. I was said you could do this at any time in your illustration. It doesn't have to be now. It could be. I could be almost done and be doing this. I just wanted to show you some tips and advice that are really good. If you wanted to just keep tweaking illustration. If you had big things you wanted to to change up, but you didn't want to redraw the entire thing. So now we've seen that will go into our next video, and we started to focus on some off the details and starting to actually flesh out this illustration. It so it's not just an under painting. 6. Eyes: So here we are. And we have a pretty good under painting a bit of an idea of the values of our illustration and all of that. Now, what I would generally suggest that you would do is you would go in and you would start off with this big brush. Here you do your painting and I need zoom in a bit. You do so more painting it. Zoom in a bit. You do so more painting until you get those fine details. What I wanted to do is to break up that kind of zooming in in detail, orientation up by different parts of the face. So we are going to be working on the eyes in this one. So if you have your reference image somewhere other than your computer or your iPad, um, I have it on my friend. You can also assume into your reference image and see the details of their So I am going Teoh. First up, go to my sketch layer and I'm going to make it opacity. Almost invisible. I don't completely invisible because, as you can see, my underpinning hasn't got all of those tiny little details in it. So I just wanted here just enough so I can see at those details so I can really work them into my painting. And because I want to retain my values map, I'm going to add a new layer above my under painting end above my sketch layer as well. I like to actually work my sketch layers at this capacity into the artwork rather than just ending up to leading them because those kind of what would happen if you had it as a full painting too. So I've been doing quite a bit where we're working on the eyes. So I wanted to just get focused on them. And we are going to be using our same Nika rule brush. I'm gonna be using that, all of it. And we're gonna bring that down and start focusing on getting some more tunnel variety and and get this, uh, illustration going. I'm going in now, and I'm adding in Theo extra the shadows which might have been missing in the details. How the eyes. It's not really huge amount of over detail that with Monsieur some also now getting will lose tiny touches of color. And I might pick a color. And then here, for example. I wanted that color, but I wanted it to be more muted so I could start getting some of these under under the eye wrinkles. And I'm not being offensive when I say that everyone has them. Even little kids. Then what makes our eyes pop? You can see here that my model is wearing some smokey eye makeup, too. So I have to take that into account when I'm working here. You know, what I'm trying to do is jump between parts of the I, uh, that have matching internal qualities to them. Example of this. Let's make a little more ready. That is, on this side of the eye end of here as well. Sometimes I pick up colors like I just did. Then Teoh get a a medium. So I'm here on the I, for example, I have this almost black here for the eye color, and then here I've got a slightly lighter brown. Yeah, so I can use that lightly across the I and then get the in between cholera? Yeah, from both of them being mixed together so I can use it a bit more strongly. Just add a little bit of depths that really, Doc, I we have this. The one thing I want you to note as we're painting this I is that you can tell eyes and not , um, white. People often mistake our eyes being what? Because they're Blewitt horned in our skin, they're not. And also you can see he is a great example. She has veins in her eyes, which all of us do, especially if you try it. But it it changes. The color is not a consistent pigmentation across the wider by and also the color kind of bleeds out of our our wires a little bit too. Nothing I want you to know while I'm painting here is I am a reupping painting the eyelashes. I try and leave the individual eyelashes to the end. I have this big, sweeping bulk of the top, and that is simply because this book here, um and that is simply because that is a black tone. She also has black eyeliner on um But when it comes to the individual eyelashes, I'm trying to avoid painting them in until they're really necessary. Because once you paint the mean, it's hard to paint around them and get a nice, consistent tone going on around them. And I tend to have quite a lot of texture and my illustrations. As you can see, they're not fully. It's it's no fully flat, is it? I don't want it to look exactly like a photograph. I still wanted to look like an illustration. Uh, but if you want it to look less texture that you can use the stuff, you can use a different brush. But you can also go in and just keep making these radiance that I'm making, uh, keep getting those subtle in between colors and really kind of flatten out your work and make it smooth. Don't make it true smooth because you still need some some texture in there to make it look realistic. But you'll will really help you get that quality you're looking for. This area needs to be looked taco. So please, when you're doing this, uh, don't just, uh, go full speed ahead and paint for an hour without looking for your reference Could he's think you know what you're looking at. You know what the colors are meant to be, really? Spend time working back and forth between your weapons. Like I just change the entire, uh, depths of that section of my illustration because it really felt like it. It needed to be Dhaka to match the times coming through in in my reference image. No, what I'm not doing is I'm not dropping every five seconds on the actual reference. In fact, that's not even open in my program right now. I just I'm doing it by visually looking back and forth has to be lighting, and sometimes you want. You want a girl like me and grab. But they get brushed to kind of like flattening some color area where you feel like that majority of that color will be, and then you can come back and start working in the final details again. That's you always want to go out and in and out and in. It's like a line that there's so many different skin values. Like you can see, he had just made working in this under brow area just how many different values are actually going on here. It's not just one but thing, and most of this is no eye shadow. This is just her natural, her natural shadows and pigmentation and like you can see how the pigmentation went on the skin in the photo. It gets stronger at the gap between highlight and and shadow. It's almost like the mid turn really wants to just pop right out there. And these are all factors that you need to really consider as you're going through your illustration nasty. Now add in that fold of her eye, which is really, really deep. So it's really strong and you'll notice she has a double fold up here and you can line up those folds if you want to all about reading the image like your your hopefully reading along with me, enjoying the exact same image that I'm drawing. You want to sort of blend thes dogs out? Can you see here the combination I have ah tan turns in great urns around the eye, take some of those great times here and pushed them up here into the tan section. I really want to stop in this up so I can use a light tone and I can bring it back into that dark and really just push it away and then I can come in once I feel like I'm going enough. Um, enough detail around this part of the eye. I can come in and idle ashes shortly. I just want to really get that kind of grating going because they don't have to go back over the lashes, the lashes. Probably one of the only parts of the face in which I will use a different brush Just because this brush is very it's it's rectangular. You can see that so it won't get that fine, delicate nous that you have in a lash. Also, just a complete sign It. I want you to note that, um, if you compare my illustration to the model's face when you look at the reference, you'll notice that I'm not putting in. I'm not drawing every wrinkle. I'm not drawing every finite detail on the face. I'm just letting them come up naturally. Um, I'm letting people read, read into the face. The more hyper detailed you make it, the less realistic your face will actually become. I once spent. I think it was 13 hours on an illustration. I was zoomed in at this level on every single item, and it just made it very, um, the very. Are you unrealistic? Everything was just overly focused. And putting so much detail into every single part of the illustration made that there wasn't There wasn't a focal point. You can see how I'm really good more softly around the like The eye on the skin turn like around the eye because I want all of that detail that focus to be on the on the physical. I itself eyes the windows, that soul in today, the heart of the drawing There what I tend to spend the most time on working once I've built them. Here are you may notice me coming back and forward to them. So let's go in at those eyelashes will get a deep black here and I'm gonna go in. And because of the texture I'm using, I will use a pencil. I'll probably just sick of the six p. Bring it much larger, though you know that much larger. And because of how she's, um, groomed her lashes, they actually come up in a few lumps up here. Sorry, Accidental raisel. You'll notice. So you want a drawer and kind of clump them together. So I'm kind of making a teepee of the lashes like that. Another thing you'll notice with the lashes, Which I'm sure I I have talked to you about in my class. How did your face I go through each a different part of the face. But when I have my eye here, my lashes just don't go out this one side of the eye. What actually happens is they go, they fan out like this like, uh, like sun rays rather than going in one direction, like you see in a lot of the cartoons. You wanna make sure, too, that there's a There's a definite dark base holding. Securing those lashes in goes old way down in on the inner eye of the upper island and then on this bottom island. You want to follow this right here along this line? That's where your eyelashes will come out. Now they're very subtle because your eyelashes are more sticking out forward. Robin down Just drunk the way that the, uh, island is placed. So you want to just have small stretch coming out and showing that detail. So I'm just gonna zoom out. Actually, I'm going to just fill in, um, with my normal painting tool. Gonna feel in the I and add a little bit of highlights to it because I don't think these highlights are quite strong enough. See how the highlights kind of they blend out day, Not just a big white dot. Then have a zoom out. You'll be able to tell the difference from where we started with are under sketch and where we're going with this, I you see the life that we've brought to the drawing. Let's continue on in trying and couple the other I now as we've gone and I was showing you in so much detail this I hear which is on her her left. All right, I want you to keep it on your screens or visible when you start working on your, uh, I on the other side. No, the eyes will not be identical. So, um, please don't use a symmetry tool or anything like that. Your eyes are never going to be exactly the same on either side of your face. Are there different shapes, their different shading? They have so much uniqueness to them. So you just don't copy it, form perform. But what you can do is you can use it for a color reference, and you can get sickly color, pick all of the different shades you want off the I e have completed and draw them onto the I you haven't yet completed. I would also go back into force between these. Once I've got in this second, I a bit more find I can go through and I can tweak the 1st 1 I can see what changes might need to be made to make them a bit more uniform like whether Iris is sitting in the in the eye with pupil is all that kind of stuff. When you were watching this alive, you'll really notice how subtle all of the work is normally. If you're watching this, where I normally presented, which is on a time lapse, which can be three times t five times the 10 times the drawing speed, depending on the drawing, which I'm doing and how detailed it is you have. You see a lot of this like subtle what kind of just fly by like Old Senate look like there's nothing happening on screen and some things done like all of the work when you're when you're developing, this is just subtle little changes here and there to stop. Bring some left of drawing. - You'll notice as you look into her. I that some of the pigmentation differences air, actually, the reflection of how the lashes on down, coming down on to her. I So there's a sort of things you really want it in point and focus on. And that is why I also you'll see the shines on her eye a broken up because it's broken up due to the lashes affecting the light source directly coming into I. I hope that when I mom pointing out to you is how helpful to you I'm trying. Teoh Upstate. Clear of repeating too many lessons. You have any questions, though, of things jive Missed stating. While I've been working through this with you, you can leave him down in the discussion. Just let me know what you're worrying, too. You got part of the the video and I'd be more than happy to and any questions which you might be coming up with about this entire process. I want to get that softness coming in here now that we have on the other side, so I might just roughly get that black in and then start using not as a a way to get my mid my meagre across. Here we go starting to replicate its its neighbor a bit more, which is always nice to see. Don't forget you really want to get these, um, these colors right before we start adding details like lashes or wrinkles, we really want get those based colors in first. Any time you see that, I've paused before color believing it's just that my color picker might not be reading me. Um, it might not be coming on this fast just because I'm using the, uh, screen capture tool at the same time. It's a lot of work for, um my I had to do. Now we have these tones. I can kind of stop flattening them out a little bit now. And when you're working on the iPod, I really suggest that, uh, you if you have access to it, get an apple pencil. Uh, there really the perfect complement to each other? But they're designed to be, um, but also I would set up your pressure sensitivity settings to make yourself comfortable before starting any illustrations. I have minds it to come comfort level for myself. I tend to be very light on my screen. And so I need a bit of ah, but more sensitive arrangements than other people in other. At a Sino, I find that when I go into, uh, different devices, like if I'm just messing around with one on a store or something like that, Um, I'm need to press a lot harder to get the marks I'm looking for at the moment. My pencil to get this kind of softness is basically just glazing over the glass of the screen. Ah, To start working on ulcers like this, all you need to do is pay $10 food, a lifetime of per crate. Get yourself. And I bet I have the I do have the iPad. Per I do love the I Piper. I they just came out with a new one. I have the the generation. I believe 1/4 generation, um, ends. I would highly recommend it, and then just get the apple pencil and it's a great set up. It will keep you on your feet for a long time. Alternatively, if you wanted to work on the computer, I can recommend the welcome products. I have used the interests, which is now the interest per arrange for very long time since 2000 and nine, Um, when I began my digital illustrations journey and they just fantastic coming through the middle of the eyes, he had assured that when that bridge of the nose is a little bit of most softness at the top, I'll be careful to in your color picking. Now, um, that, uh, when you're using your layers, it is all that it's gonna pick the exact color off all those layers combined. So it's not like it's just gonna pick are the colors, which on Deke, specific. Later I'm working on. So if I pick my color here, it's gonna makes in the gray, um, off my, um my sketch layer. Uh, And if you want that pure color, just avoid. Just go around it, uh, and be aware of it. It's the easiest. Easiest thing to do is just be aware of what you're doing and be as precise is you can be. Look, I might just go here and just get rid of that mind completely. I should get back to doing more the detail of this I now most of the area around it is much better situated when I am putting in the detail. I like to start with the top middle of the island because it tends to be a flat fold. And then it kind of comes down with two lines in more of a trapeze, uh, fashion. And as zoomed in as we are, you can tell there's the multiple folds coming in there. I'm actually using the same car lot in these subtle wrinkles, but I am drawing so lightly, um, that they're barely coming up, which is exactly what I want. Just so that there's a bit more of the shapely nous to to the artwork. But it's not are making her look tired because she is a very beautiful, very youthful lady. Okay, now we have all that in their midst at a little more of the gray around here. One thing I want to warn you to about using texture brushes is it may seem like you're no actually drawing when you are, because that just happens to be that part of the texture which have picked up is like happens to be a hope. Eso if it doesn't, if it feels like it's not drawing when it should be, just pick your pin up off of the page and put it back down. Especially if you're using a following along with exact same brush that I'm using. I want to add a little Marcus Ray in here over this. Decide this I is light on, and it might be that there's a lot of makeup, but it's also the positioning of the lighting. I just want to make sure that there isn't enough even this to her. That's not I'm not going to off balance with when I'm drawing. It's a bit better. Okay? Now will do. The same thing will go in with Ah, don't. I mean, sorry. Uh, six b and an easy way to measure the luscious is simply by saying where they line up with the, um I I crease. Some people like me. What if you drew me and I had, um I Heiner on you wouldn't see much. I actual eyelash. It'll just because I don't I don't have a very much eyelash left. I mean, working as a performer. And so I've had to fake glasses on for a lot of my life, and that means that my natural luscious tend to come out with the fake ones. And then you have other people which naturally have lashes for days. And I am honestly a little bit envious of how beautiful, especially as a painter. So you can see here. Now I'm trying to go back in and adjusted color. It's a much more difficult now I've got my lashes up, and I did that specifically just to demonstrate to you the hardship of going back after you already have your your lashes in place. As we zoom out, we can see how detailed and INGE almost beautiful her. Her eyes are in compared to the rest of her face and divided on a separate layer. I can show you the before like this and the off tha off that painting. So don't forget, the things we focused on was getting those shapes on getting those tones really solid. Before we started working on the more details, we went from bigger brushes to smaller brushes on, and we really just made sure we even got our workload across the two eyes. Now I will be reiterating these lessons as we go into different features of the face. Take a time. I get a bit of those details on the eyes in the eye lids. Donna and I will see you in the next part of the video. 7. Nose: So we just completed the eyes and we are going to be working down the face now, and we're going to go onto the nerds. Make sure you're on the same layer is your eyes. Or if you want, you can add a new layout. But we're going to be. I'm going in with the Nico brush and we're going to be doing some painting eso with knows it's She's got a very soft nose, you'll notice in more European faces. Add that the nose is a bit more pointed and so the shines and everything will be bit sharper on hers, though it's a lot softer what you want to think of. I'm just going to quickly draw on a new layer we did. My sketch brush is that you kind of have a bulb or point, and then you have a triangle kind of coming up from that. And that is, generally waiter shines will go. Then you have these two to kind of Mickey Mouse's if you turn it upside down. Ah, which is also where the volume of Shines ago and underneath ease like this is kind of shadow territory. And if you think of that in its volumes. Rather than thinking of the shape is like a flat shape, it it's really helpful. Uh, this is related to using a planes map again. If you would like to know what a plane's map is, you can look at my two videos had a drawer face in drawing from reference both of them. I believe talk to you took you through how to use a plans map, how to make a plane's Mac, and you can make one for this specific illustration. If you feel so inclined. Planes map for anyone who isn't aware is basically a a tool we can use to identify the different three dimensional spaces off the face s so we can work to figure out how best to , uh, illustrate and, uh, shade these these areas because you're aware where they sit specially in the entirety of the face. Right now, though, we're going to just pull right now. You shouldn't need to create new colors. You should just be able to pull them all. But we're just going to pull our colors and we're going to redefine the shapes. These nostrils, the nationals air, really the, um, the anchor point of the nose because they are the darkest point. So we want to make sure they have a clearly defined T drop shape. Really concentrate on referring back and forth to your ah reference material. It will come in really handy for you to just be able to see what works and what doesn't work. And, um, what that's shaped really is, if you want, you can even use a finger in trace over the shapes on your reference to be like Oh, that's more T shape or this one looks more like a mountain and get the idea of the physical shapes away from it being a face because naturally, your your mind will have certain rules. It has, ah, to associate a face like boat has eyes in eyes. Ah, no, no. Only people perceive at the top half of the face because they have to have room for the nose and the mouth. It's not the case. Eyes were in the center of head on, and there's just different things like that where you need to stop thinking of the face more in shapes rather than an actual person. Kids, if you if you depersonalize that you actually get it A better sense of the overall, uh, composition that you're tryingto get to. I think it is a gun full of flowers rather than, um, rather than, uh, individual figure. All those working parts together, you can look at them in detail and then once you work them all out, you can get a better understanding of the garden of the whole. Sorry, that was a tear. A terrible medical. But I hope you get my understanding. So knows isn't just the base. It's the whole bridge section as well. So this whole section, uh, I am just trying to work in, um and get an understanding of the shade and where everything's really fitting in out to the knows it knows is a quite challenging for a lot of people because it's such a a foot garden feature of the face notice adds so much personality, so much uniqueness to everyone's faces. Um, and yet it's always the mouth in the eyes which we pay attention, Teoh. Whether it be just generally or like makeup, the only really, ever maybe control your nose is no special decoration for the nose like theories for the eyes in the mouth. So but coming an honest you you need to pay attention to the big end the perceived small pieces because they all play a really important a really important part in making up home, especially when you're working up and you're trying to in in this case, we're trying to convey she's mixed race. So she has a very unique features. Um, if I made this no seem more pointy on that would lose some of the Asian feel of her face. Uh, and you really want you really want to look at those complexities? And there's really little nuances to get the features just right to really convey the person as they are and not has your most common commonly view person or, um, cartoon. It would be a great thing for you to do is to be go on something like Pinterest or even instagram, or there's an app called Sketchy and just look at abundance of faces on looking fuels noses and say, Oh, a the big Are they small as the bridge of the nose wide? Is it, um, shrunken and that sort of thing that really will give you a sensitive how differently all. Aw, even just within your own family. So you want to kind of push as you can see what I'm doing? I'm kind of I have this crease on the side of the nose and I'm just I'm using it and I'm just slowly pushing it up the nose on. And then I'm pushing back with the neutral, are mid tone to kind of like, have it kind of Grady it and disappear. I don't want to just be this harsh kind of stopping point because that's not really what it is. It's kind of just fades into into the rest of the nose as the crease walls away. So really again, using the pressure sensitivity of your screen, huh? To deliver you, um, to that comfort point. Once you get some techniques of what we do to the Ides, it's basically the same thing coming around here. The knows you're picking your tones, you're mixing to the giver you're finding in mid tone in between them, you mixing them together to come to me little out. You're really just reading that the shapes, the flat colors and all of that. You just want to get a little bit talk. - Another thing to consider Those is coming down to this little crevice we have, which is just about lips. If you look in a mirror, you'll see it. Uh, model has it. Um, it's more subtle on her because of the soft roundness of her lips, but it's definitely present. Um, and he also wanted it. It also has to do with the lighting, which is directly front facing on her, so it would be less noticeable because there's no direct shadow. But you want it. Um, I feel that I I always think of it is when your baby, your smoke stopping you it's stuck in a smaller place than your body is. And I just feel like your lips they're going to probably have been stuck up on your on your notes that this is a little place where your nose what kind of novel in that little get, um, between the two nostrils. Eso just think of. Think of that. It's kind of like a a resting place for it. If if your nose with a fold, it really hopes you add a bit of volume to you to your face. Now this news is relatively easy because she's again got got a good lighting source on her . It's very even lighting, Um, so there isn't a huge amount of shadow there still shadows leading down the face, but it's not a drastic shop shadowing. It's very subtle. It's it's just, um, off, like a subtle of lay off the protrusion of the nose. But you want to be aware of how the entire map of the faces is affected by a lighting and you wanted have a look a your nose. Get a torch, shine a different positive face and see where the shadow of a nose really pushes. Because it is, it is protruding from your face on. And it does really affect, um, we're all the eternal values Go funny. So much you can really say about her nose, isn't there? I just wanna make sure to you go on either sides of the nostrils and really sure that there is volume to the surrounding cheeks that are pushing against them. Be settled with this because otherwise you might come up with the chubby cheeks. But, um, these do you want to show that there is the volumes throughout eso that's basically there we go. We have on knows. So again we can do a before off Don. The face is really starting to come together. Now you can play with it more. You can make it a subtle a transition here. Princeton's between the shadows, uh, in the and the highlights just because of the roundness of her face. And you could, uh, give it a go. Playing with different types of highlights, imagining different scenarios for the shadows and even at in a couple imperfections in her skin. Which are there such example. We can take this dot Salhiya bring it right down and we can add Ian at the moment, which is here, on her face at its little little spots like this that I'm we need to find the cart character of a person. So I'm going to leave the nose there from now, and I'll get back to you as we transition to the men 8. Mouth: Welcome back. As I said, we were working down the face. So now we get to the mouth. And in all honesty to you guys, this is actually what I find to be one of the hottest parts of the face. It's just the Mathis such unique feature, and it's got different. It's it's state, the same skin. But it has different pigmentation or has lipstick, and it's got such unique, different volumes to it that it makes it a bit more of a challenge. So let's go in. What I want to do first is get into this crease of the mouth and really show that top lip is overlapping the bottom lip. Uh, so we have quite dark indent here, just slowly going down in my colors, uh, to doctor in Dhaka, and I'm just gonna bring that into the meth as well. You also notice here that I'm gonna pull some of this dark brown all the way up from I, um, that she has dark pigmentation on the corners of her mouth. That is really common. And if you don't have documentation, you will have shadows because your mouth needs to fold someone. Uh, So you tend to have these almost very loosely. I, um you get these up. Sorry. He's very loose. T drop kind of styles on either side of your mouth, and then I'm going to go in and add, uh, this dark shadow also underneath underneath the lips to really give them some volume. Just make my brush a little bit bigger. Don't forget to borrow colors from around your, uh, the rest of your palate that you've already got there, um, on your skin. You want to have everything fitting in nicely together, Put the shadow all the way in with the fingers, actually, - and now we definitely have. Um, some move, William to the lower lip is gonna add a little bit of the, um, a shadow in here to to bring that volume into the apple. IPASS. Well, okay, What I'm doing now is I'm just doing this outline. You can see she has and allen of a slightly more neutral, uh, color on her lips, really wearing a lip gloss rather than lipstick. Which means a lot of the different colors, like all the different natural pigmentation shifts a really present like here on the top of her lip. There is quite a bright pink area, in contrast to the more subtle pinks as you fade down her lip. Now I want there's a lot of texture in the lips, but right now I just want to get those focuses on those scholarships, like so give it a little more definition on her teeth. I think that I brought her lip down to Foster was gonna bring her teeth back up a little bit. I can. They said, the beauty of this I can commune like I am now and actually redrawn my sketch a little bit . I am actually going to go in and overlay that sketch with a bit of the darker pink, which is actually pigmented in, um, in that the don't forget that there's a volume of the lips between, uh between the front of the lift and the, uh, teeth. So that brings that shadow in there. Now what I'm doing is I'm drawing a doctor Qala up from the center of the lips. Um, in in those Alenia fashions of the the creases in our lips are lips. There have to be extremely elastic to allow us the talk the way we do, Um, And so that's why you get when you look into it always really fine. Our wrinkles coming up them. You smile, the more chance you have wrinkles on your lips, but like they're beautiful and never stop smiling. I just see how I just picked up that that radio turn and I'm going over really subtly on top of my other turn in Peking, you get up again. That's because I wanted to bring a bit more of a vibrancy into this muted color without actually trying to call a shift in my pickup. Now, again, the choice is up to you. But how much detail you want to bring into this? Um, I like to keep it a little more subtle on on my lips as they are a higher challenge point for me. And also, I want folks to always be more on the eyes. But you could go through and you could draw every single wrinkle, every single minute detail if you if he chose to. I like to just pick a couple places to highlight them throughout, and at the moment I'm only working on the shading. This is not the highlights. Nothing. I want to note Is that thes scholarships? These these tiny imperfections in your lips? Um, they also help you really demonstrate the volume. The volume of the lips are. You don't want to draw them straight up and down like this. You want to draw on the curve following the volume of your lips, Really? Again, focus on on what you see in your uh huh. Reference material like you do have creative license. You can see the I am using creative licenses. I go in these illustrations. Sometimes I like things. Be smoke you than they appeared to be. Sometimes I want them to be a little less detailed or more detailed and push and pull my details in and out to really get that artistic will. Look what I'm going for because it is a painting after all, not a photograph. But you want it really honing on on that style, which what you're looking for, I must apologize to you if I dropped in the middle of sentences. It's because I am talking to you while I am drawing. And that can lead to my concentration causing needs to pause while I'm talking he has ever was saying like you really have to determine for yourself how far you want to take taken illustration and as you can see here also looking in, I'm not just working on the lips. I'm also working on the the colors around the lips. I really want to get a sense of everything together. I could make the perfect lips, but they could no look like they're touched the face. And that's not what you want. You really want them toe like a part of the face. And, um, one thing to note is that lips unless they're drawn, they can't like. You've used a specific pencil on your lips. It's for men. It's a type of makeup. Um, they tend to have a little bit of a bleed from their pigmentation into your natural outlet pigmentation so you can blow the lines a little bit. It doesn't have to be a solid. This is friends. It's my red lip. And then this is, uh, my, uh, brown skin. It's It's not like that old you want to just keep working is how does he can t get that balance of detail and in calm in your voter, you you want to develop a look. Don't get too to use those crease lines to bring bullying to you fully into your lips. And you can see I am bouncing back between different sizes of the same brush. Now I want to stop pulling down this this pink. Have it a bit more blended through. I don't It's just cut off it the shine line and I also want there to be shading on the inside of that bright pink. Just give that pulling off the mouth. No, Sheindlin is is pretty consistent sold line all the way across. So I'm going to be doing it in a pink, as you can see here rather than the white at birth. This way it can kind of this color will hailer the white. But it also gives me a bit of perspective where the shine's gonna lie and then I can just go make it a little bit lighter and at that shining even smaller. And then I'll do it smaller again. I'm that way. It's not just a big, bright, massive white shine. Her lips are not. They're not lost. Um, he was hyper hyper gloss or anything like that. They have not got bright, shiny red lipstick on that pretty natural. So you want to maintain that pretty natural and go back and forth. You can pull back those highlights again by eating the pink, and you can draw down these highlights to emphasize the volume of the lips against those different lions and attributes of the lips. All those little creases we were talking about earlier feeling they pretty well flushed out . But here we now have a bit is you need to bring a bit more detail on the inside of the mouth. So what I first want to do is go through in defying these upper teeth. Um, and then we can work on the lower ones with teeth. It's always tricky. This is definitely where you want to pull back in your detail. No one wants to see every single one of their teeth drawn out on display. Um, unless it is a really defining feature of a character, I would almost, um, joined the teeth together as one unit. I can see he just me. I'm pushing and pulling with all of my illustrations. I pushing the docks and then I pull it back with the lights. Um, and that's a consistent method I'm using. And also note you that all about the same color, Yes, but I'm going in and I'm only using a shadow color to get those bottom teeth in place up because they further back they arm or in the shadows like you really want toe. Use your your mind's eye and look at the color values rather than what you know. The colors will be. Because I know I know that these teeth, they're white. Um, but they might not be a pure white end. You goto look at the atmosphere and everything around them. I just want to make these teeth slightly less, uh, pink turned. I want to make them a little more blue turn neutral. Um, just because you can see in any referencing and jerseys room in that her teeth arm or that inclination rather than the yellow tinge way. So now if I pull back, you'll see that her lips are fully fleshed out, no pun intended, and again we can have a reference of the before and after. So she's really starting to come along Now we've had all the key features of the face the next thing that I'm going to develop with you, that will be the overall skin turn in the e r. We really wanna make it even thing. And I want to show you how to sculpt out that volume on a much smoother plane with less details involved. So join me for the next cross when we go through how to work on your skin turns in this life real time portrait session. 9. Skin and Face Structure: Hello, everyone s So we've gone through and we've done all the key features off the face right now . As you can see, uh, I wanted to clarify. I do have a Texas style, if you would see some of my works in the introduction, so you can spend more time making it smoother. I'm just gonna use a different color brush. Teoh Point at it, will you guys? So if I wanted Teoh, I could go through. I could I could smear that this area here and down here. But I really like having the texture. Like I really enjoy having that liveliness to your of it. And I would recommend you picking a style which would help you with your life in us and your blob of your work. So, as you can see here, I've got real texture and eyes and the nose as well. If you need help trying to define your style, I do have a cool school finding your style finally enough. And, um, I can help you out with that. So now we're coming back to it. I really wanted to finish off the face. We may move down to handle bit. What we're going to do is we're going to be working on the skin turns and really defining them. So please make sure you have your reference that because it's really important what we are doing with the skin turns we year. No, only smoothing out the colors, but we're sculpting. The face is well because don't forget where basically defining a three D object on a two d surface. So, as always, I'm gonna pick up my knicker rule. Bush. You pick up whichever brush you feel so inclined again. This is a lot of call picking and drawing a little bit cooler picking and during a little bit and color picking, enduring a little bit to start smoothing at the sculpting ones that we have for cheeks and the rest of the face. One thing you notice is you see how I just I'm making this highlight kind of push after the site, and that kind of makes her cheek around up, and then I can come back in and I can actually make her cheek sharp about using this anytime. Yeah, and bringing up those the shadows. See how important is to really define you're sculpture and in way of shadows lie again, I'm going to refer to you of the plains. The plane diagram that you could be using from the previous clock aside continue to mention uh, they had to be very helpful for you at this time. If you're unfamiliar with the general structure, the face and where the light's hitting on our model, which we're working with together the moment I've picked quite a simple lighting and just going to come across with our red pencil heat demonstrate with key. The lighting is we have these two triangles on cheeks here, as well as the frontal of the nose and the forehead, which is really capturing most the light and also justice lying here about the lips. It is the light that you want to focus on, and then you've got your shadows coming with a blue, their shadows focusing in on the explains Down here on the temples, in all under the chin. Are you really want identify these these key spots in the shapes and then work from their shapes to develop a structure to your skin and so structure to your face a good way? Thinking of this process is feeling like you are a sculptor and you're really working at the clay softly and slowly to develop the book that the shape our you're drawing Now we come down to this crease line coming down to enough. You can make this as defined as you like. My recommendation is softer. The definition the younger the model appears actually quite a lot of fun when I draw older , Uh, older people are really defining out the wrinkles, giving them the character that their life has permitted. And another trick is, you see how I am giving a suggestion of the line? I'm not connecting it all the way between the nose down to the mouth like this. I'm just giving it a softness to recommend that that is where her smile line is. I like to to find it a bit around the lips, as I am right now in the corners, because that just shows how much happiness there has been in the life. Uh and yeah, it's really it is really important to get those bits of your character or the personality your painting across. I just want to kind of paint over the sketch lines with a mid turn color and Glenn this in a bit and bring up those shot is a bit too Yeah, I'm gonna basically working with this side face with you all going back and forth really working on this colors working on shadows are like Combine them to get that. Remember that your shadow no, only is a value so like a darker or lighter off the off the skin color, but it also has its own value. So depending on what kind of like you are in the shadow will be a different color. If you're in a blue light, your shadows will have more of a blue coupal attention. Uh, same if you're in a a warmer life. Did have a woman teams to them. Really? When I bring this definition down here for her cheek bone and I like to play with this putting in a darker or a more muted tone put pushing it forward, pulling back, really getting that sense of what's really building the shapes of the face, and you can see you around the apples of the cheeks. There's also a bit of a mole pinky pigmentation. So if I come here, I could just pull my color a little bit more towards the pings and put in that little bit of a liveliness. I remember. That's what we're going for. We're going for giving a bit of a life. My model in my character can really go back and forward on this one's for all day. And again, you could do the same method of working slowly in using small on small brushes. If you feel so inclined to get that look, I just wanted Teoh. Put my little note out there that you want to have more, unless to find parts of the face. You want that push and pull in that focus and predominantly, that focus. You want to be on the features, the eyes, the nose, the mouth rather than skin. Unless they got some sort of really interesting attribute with this king just at the moment going in and defying the shape of that cheek, you can just compare the one side to the other end. See Hapa, I would come and my add a bit more of this supped, a pink turn coming up the cheek, and it's also a little bit of creative license. Your style is very unique to you and your arm is very unique to you. So if you decide that you want Teoh really great up her her skin give it heat of texture. He keeps focus. Zoom in on those pores. You go ahead. You want to completely, smoothly down given airbrush look, uh, like in the magazines. Then you do that. You do the odd that makes you happy, Makes you comfortable. And really what you think represents the person go in here with this super doc from he put into this. Yeah, it's interesting. When you look at the shadows, it only separate you from her place with how dark the shadow is with this little connection right at the bottom. It's so dark it sounds, Do you mean? In fact, I might pull over the hair color and bring it down a bit, too, at the definition and something that you think we don't really want you to be overly noticeable in this entire competition. Right now, it's not about any relevance to the story which were trying to tell, and it's almost completely hidden in the hands on the other side is completely hidden hand . So you want to but try and push it back into the composition. So not too much detail. Not too much contrast. Just enough. Teoh show that it's It's their award. It what exactly it is? Yeah, just keep You're looking at that being said, we don't believe it completely to the imagination. Get a doctor again. Just along with all this that that color picking that back and forth is really I'm valuable to you. It helps your blending. It's similar to how you would work if you were working traditionally and you may see in this reference that there is actually tops of hit covering and we'll we'll get to them as we as we progress through. But it's good to have a bit of a base to work from. - And sorry, we're stopping talking. I just really got into my drawing like I could guys. Yes. So I think all these you the effort now and we can we can push it back even even as we progress with the full illustration obviously coming back into it, we just want to go to this small section around her. I remember. Stop focusing in on, uh, whether shutters are coming into play especially as the hair is, is a three dimensional object. And it is, it is. I'm coming forward walking some of that little light. If you'd like Teoh, keep a smooth skin, turn it. Recommend moving to a bit of a smooth rush than this one. This one, um, really does get that that beautiful, pretty texture into your work unless you're pressing extremely hard and going over your surfaces over again. - And as I said before, I do come back and forth between different sections. So now, during the skin turn, I might come here under the eye and just do some tweets. I want to get that skin over the I the right, the right shade. The right color in what we're going to be doing now is working our way around on and then going into the eyebrow. The reason why I like to work around I brought bust is because eyebrows me to such fine a hiss that I like to have a bit of of a canvas basically in place before I commenced. There are working on them so that if I want to add in those straight hiss that may come up to get the personality going of the artwork I can. I can do so and then not have to go in later and change the turn of the skin. Uh, just like with the eyelashes, you may want to just walking your eyebrows similar to how they already appear in that That's fine, too. It's very much a stylistic choice to work a little bit. Column column B style Until I'm happy with it on and you want to remember that every portrait you pain is different. It's a different person. It's a different purpose. Some of them you might be. It's talking and fantasy language here, but you might want it to be painting an enchantress. They tend to be more smooth, more find. Then you might want to painted in yoga an example on. Then you want to have all those little definitions coming through a wild child. The A supermodel. All these different scenarios lead to different opportunities for things that you highlight through them. And you want to match that just talking up this area here because I know that it will eventually have, uh, this straight hiss coming across it like you can see you know he's gonna come here and quickly paint over this line. I think some of them light talk, color through just Covic and draw topic and draw that really my biggest technique. When it comes to giving these digital digital digital paintings, you'd be surprised about the complexity of turn ality, internal changes and ships on the forehead, which people normally say is a relatively pain. It's not findable. It's got bumps and ridges, uh, in all sorts of different forms throughout it. Anything that gets a good enough base will come down to this highbrow now and Jim into your reference, Uh, this time is pretty good. I kind of think I want to just put a little bit unless saturated. Yeah, because what happened is the goat withdrawing has drawn in her eyebrows? A. It has quite find shape already. Open house. When your model does some drawing for you, I usually have a point. We come then we're going to go into a slightly darker brush and I in going Teoh those off duty, small, small wonder maker and we want to go with hair. So you come from the bottom up and then you come from the top down and you're basically crossing and making a point. Middle Webby, the hair stickiest. You can see uh, that this is how she's also like her eyebrows. And here's a natural sitting. You don't need to drop of every specific one identically. But it does. It does help to follow the not rule, uh, candidates of how her hair actually goes. Stop. Bring that texture in there. I'm gonna go through to slightly doctor brush again. Get this area here and the every time I go to docker brush, I do the hair spath sponsor apart toe allow for that natural, um, variation in the natural states and shadows to put through some not just drawing over the same spot over and over again. Okay, so there we go there. You can see if I draw a straight line down the middle of her face. Just a skin torrent in the difference between the one side and the ABA. Now, I am going to go ahead and repeat what we've just seen during on the second, huh? This is a real time video, but I feel like you have an in depth understanding of how to do this skin turn uh, now and, um I just say, Go ahead, Go do it. And we were turned together, and then we'll start working on the hand in the next year. Thank you for watching. And I'll see you see. 10. Hand: the case that we have been making a real progress, as you can see here and hopefully in your illustrations as well, her face is finished. It really brings onto the image. And I just want to talk on that point again about push and pull off details So you can see here that now have basis. Finch. It's really it's it's drawing you in, especially compared to the unfinished background and hair and everything like that. It really puts a focal point on it. So we want to remain and keep that tension and that drawer into into the face and everything. After from now on, everything will have a slightly old less detail, not by a lot, but just slightly less. It will be a little bit softer, a little bit less focused at to really give that attention to her expression to her eyes, into her beaches. So ever see this, we are moving into her hand, which at the moment is quite a bit of a mess. So I want you to go to your layers and create a whole new layout so you're not disrupting the face layer. In fact, let's look that face layer and also just go through and look the sketch in the, um the on the painting way You can go ahead and nannies, ladies, if you want. I don't really see the need for it. This is at the moment. We don't have that much like that many lays. Uh, I'm trying to teach this drawing with minimal blaze as possible, so it's more comfortable for everybody. So coming here again. Same, same as they have been doing. We're going to go a big brush to small brush using the Nico role brush so you can pick to start anywhere. I'm going to start on the fingers and work my way down. IHS. I just wonder before I get that big brush. I just want to kind of define where these nails going as I'm so zoned in now, one thing you'll notice about her now this actually has a very thick nails on that. So this isn't a normal nail. You'll see on like a natural, a natural look. So it's up to you and you want to draw them like I am like, exactly as you see them For what? You want it up. Smooth down both announced they will look a more natural. I just I ever say I know this model. I took this this photo and it's one of her defining trait is having nice and manicured manicure pants. The reason I'm defining these nails is because it will help me looking at the fingertips and everything. So normally I would leave nails toe a little bit later on, but as their defining feature for her, I just want to go through and work on them. Uh, and nothing is, as I wanted to bring this lesson to you, which is that even long working on a new layer above my skin tones, I can come in and as this layers on top on and work on them coming in here and really just covering that on the painting, we had both e the nail to just get that defined shape coming in. Um, one thing you want to note is that when you're working like this doing lays on top of other lays painted, you can't just, like, magically erase, But racing's, you have to paint over them to take that in consideration when, as you're working through, Okay, now I'm going to increase the size of my brush. Phillies in a bit. Just building flat for now. But step there. Okay, let's get started on these fingers. Now you'll notice that my cut composition up here is slightly different. Um, the hand is slightly further in on the face. Then at the actual picture, that sometimes happens and you have Teoh be able to adapt. Like I can go back if I want to and adjust the face. Aiken, pull the face. He Aiken, bring the drawer more in a bit. If I wanted to fight, come in here and make it more rounded Such a that. But you can adjust your concepts to fit the anatomy of your drawing. Because little details like this no one really notices when they looking back and forth between the illustrations unless they've spent a lot of time like we have a staring at same photos doing the same screen, really working the details. So what I'm actually doing right now, you might see is I'm putting a little bit it, um, stronger outlining on on the shapes in these fingers. When it comes the hands, it's it's a very interesting upended. You have so many different variables that the fingers. Then there's extra wrinkles because their hands are very mobile. Uh, mobile implement their our best rule. What separates us from the animals, too? Use to D C expression. So I really want to go in and just define the sketch a little more. Uh, really, I'm not making it super neat colors. I'm not smoothing them out just yet. I'm just going through and I'm working out where my separations lie. Yes, it should be a little bit of a red scoff coming pumping through here, and you can make corrections over nerve a nerve again. That's the beauty of digital life, or even just normal painting is that I'm coming through. I'm adjusting as I go, really blocking in those shapes that were are adding extra definition where it's needed become. He grabbed this doc pink, and I just wanted put that shadow in there of where the finger touches the lip and really work the elements together. So we'll just continue on like this and keep developing and refining the shapes and the car looks off the hands. So again, we just continuing that color blocking all the way along here. Having a better understanding of how this hand is built, how it shaped again. I want to use that sculptors terminology. We're really defining the properties of hand company and think these nails a little less in your face artist shaping and come back down and stock continuing on these these individual fingers Now with a hint again, it's up to your personal preference. You might. I want to put a lot of detail into on the hands, like really defining out those ring cools, especially around the knuckles. Or you might want to know you might want to just, uh, create a more subtle, softer illustration. It also depends on what you're looking to perceive in this illustration. I am trying to make it a little more a fashion image, as you can see, probably by how I took the photos. It's more come fashion and feminine orientated, so her hands will be portrayed of it softer. Then, if I wanted to get across that sheep like if she was a trade Smith, I want I wanted to rough up her hands, I'd want you to really see the work on them. Goal is basically just got back in 12 back and forth in your illustration. In looking, there's cuts. You really want to get a sensitive the turns and everything now and then work slowly, further and further into illustration. You might also have come at this from a different angle and made it really soft with with minimal, um, minimal color transitions like you, basically the opposite of what I'm doing coming in. And instead of smoothing out the details, adding them in, I might be what you're what your solution is to the time. Right now it is like the painting process is really it's very individual. I can show you everything I like. I am showing you everything I do for illustration for in this cup caliber when it comes to doing portraiture. But at the end of the day, it's what you feel most comfortable with. And no artist can tell you humps and White was 100 and wrong. Like I can correct anatomy. I can correct, uh, structure. I can help you learn new techniques like I am today, but I can never tell you that the way you approach shot is is wrong. Um, and I want you to take that lesson a hot just in case someone else tries to say that your methods air. Uh, inappropriate or not. I'm not accurate because at the end of the day, it's not that at work, it's not that process. If they find another way easier, that's fantastic for them. I'm sure that some of you are looking at my at work right now being like you could just skip this step and skip this step and come up with the same solution, but is about expressing yourself as much as showing deep the figure behind the artwork, like the model. So just yet, bear in mind that when you're reviewing these steps, when you're following along these painting, you feel like our friends. And instead of going item by item along the face, you just want to, like do the entire, uh, the entire face with is, uh, illustration and then slowly work your way. And then you you go and you to that at whatever makes you happy, because I'm happy you are creating an illustration, I guarantee the more beautiful it will, you will turn out because you'll be able to see that enjoyment in the outlook. Well, you can see I'm doing as a really lightly going over the fingers in the lightest color, just a kind of blend. Colors together a bit. Just make it a bit smoother on transitions because her hands off fairly pale right now. And a question I get from people is, how do you know when you're ready to move on to the next part of your illustration? When you're ready to take the next steps? Um, you feel like it's completed. We'll it's a very internalized feeling, but also when you feel like there's nothing else you can do with this brush that will improve. Your outward hum is when I say OK, now it's time to move on to, uh, a smaller brush and in a smaller brush. And then when it gets the small brush and I feel like there's nothing else I could do, or I feel like everything sank to below together in everything I do isn't exactly improving the piece, but just changing it, then that's probably when the outlook is, say, the OPTIC. It's ready, it's done. It doesn't any more work. Uh, and you know, was he decided to change minds, ignores. Come back later and keep keep working on it. Okay, Well, I think that that rush size, as I was just saying, is exhausted to let's start zooming in frying these I'm gonna We working finger down. But now I want to work hand up just to get a bit more of a focus. Um, and I have taken a couple breaks during life. Admin in between on and doing largest spaces tends to get, um, you back into the practice both actually mock making. And I think it's really important t know when you can't will know when you have warmed up for not work or if you're not quite ready yet. I like to generally warm up for four weeks I'm doing in your professional capacity. Uh, I will tend to dio some working next guest book behalf now or run through some warm up exercises. I might even do some practices in some reference work prior to doing a paid piece because that really relaxes me into the work. It doesn't make me. It prevents me. Sorry from double double guessing what I'm doing. Whether it's it's appropriate for the client, whether the work is really something that should be paid for because when you love doing it , hey, sometimes it feel likes it shouldn't be a job. So yeah, there's always kind of factors which I I think about pride Teoh commencing a a paid. He's a book, and that is why I liked a warm up, and I even have a set regime of a wall exercises you may have seen. I also made a class on that. I've made a clause in almost almost everything. I'm sure those always they'll always be something new to learn. But there's a fair few cloth is out there right now. If you want to learn anything pertaining to sketching, drawing any sort of thing related to a portrait, uh, drawing unique styles or cotton's, I do have closets for that. But if you can't find what you're looking for, whether it be from me or from fellow creators on this website, because there is so many wonderful creative on this website, let me know, and I'm more than happy to answer your questions, to give you tips and advice on those specific areas or to build a whole new coughed like and right now, this a cloth was that suggestion by student of one of, um I feel it. My previous closet is my main recruiter. Mashriq loss. They really enjoyed the class. They just wanted to know how to render my, ah, looks the way that I do, Um, so they could follow along the antipodes. It's not just this structural design, which is what I skipped at the start of this class. This the complimentary units, Teoh entire entire course work, if you if you will. So I am coming in and I'm trying to work out, um, where I want the knuckles and how much definition I want to give them. I feel like I'm going to do more of a general pigmentation, like so, with subtle variations throughout. To make those wrinkles appear on the fingers. Pick up that bring down my brush size not differing from when where she with our eyelashes . You can put these wrinkles in now because you want to blend them into your skin tone when you're working with the lashes. It's different because you want Teoh have them on top and finite, but with the wrinkles that you really want to work in. Another way to find the knuckles is to just a little dip with fingers you can actually see . She has wielded between it. Just The thing is, on ST Sausage is a pretty for better turn lumpy, Um, because of the mobility, because for the Houston aled the muscle structures and everything within them, they tend to have a bit more of a diversity of shape and so not surprisingly hip, very organic shaped. So again, just repeating the same lesson over and over quickly. Did you know, fellow? And then we are going through and using that call, uh, tweets have it set. At the moment, I'd say about 70% of passing on a brush, but I'm also drawing lighter than my brush. Eso probably say I'm during more of a 40% capacity on and then we're peeing the color from that overlay of those multiple colors. If if that makes sense NVR blending and redefining as we go, I find it really fascinating because of the delicacy off models hand. She actually has that bit of webbing, um, in her hand, and it's just it's really unique, um, to actually have that captured. You can see it. I keep coming back into my my background picking up codes from their sculpting out the fingers from the background. No. Go back and forth between fingers trying great something. I'm happy. But the reason I put the hand in here is because I do understand how difficult it is for a lot of people to achieve the look of a hand on. And I wanted people to have the challenge. If you really skid about pursuing his hand, if you haven't quite salvadorian because you're uncomfortable, don't worry. You can use your imagination and fill in the small pond of her face, which is, um, missing due to the the hand being in me the reference image. Just look at the other side of her face and make it make a comparison and work from there. Um, and then later down the track, you can revisit this illustration reefer shoe the outlook and try and fit in place. That always gives you, um, and optionally for path for improvement. Uh, you should never try and be perfect on the first go around if you are that brilliant. But, um but no means is it necessary for you to be a master at anything which have chosen to learn at first go, a lot of people get overwhelmed, and then they get upset with themselves because they can't achieve the look that they're going for. Um, but I think that you should just embrace the opportunity. The loan, um, embrace the failures. Embrace this excesses because you go to compares off to you and not compare yourself to others. So you might I feel like you outwork doesn't look like mine, but it looks 10 times better then you've achieved before. Are this your first time working digitally? Congratulations. If it is, it is a very fun medium to do. But that is also a massive learning code. So I recommend I'm not being too hard on yourself if the work isn't as brilliant as your traditional traditional Allah. - So basically we will just keep playing, going back and forth, back and forth and really make these artworks sing. You're finding it challenging to do these hands. Just think of the hand is an animate object, and that should help you along your way. Um, that's the big child people have is when you're drawing and you think a face is the face of hand is a hand? A, um, eyes and I people used it instead of just looking directly at what they're seeing. They use do lunch knowledge of off what they think it looks like, which isn't always that correct. Like I was saying before, with e the eyes, people often received the eyes area in the top half of the face. But in most cases in the natural actual proportion years do you have your eyes are resting more, sir, in the central axis of your head. It just It's fascinating how conception our worldly conception can actually be different from a, um, a logical mathematical reality. So again, when you're viewing the hand, think of it is cylinders and coveted individual shapes. Look at the patterns in me in the, uh, colors in the shading and focus on making those specific shapes on booking them out. And you will get a better result than if you were working on it as if, um, as if it was you were just looking at justice. A hand need to look at it from its its parts as well as its hole. So you can just see that I decided to pick up some darker tone and put that in place. It's really important Teoh keep checking in annual contrasts. So let's just have a look at the moment at our before and after. On that hand, you'll see we've really come quite a far way. You forget how far that you've actually taken a drawing until you do do these before in office. And that's why one of the reasons I recommend having multiple layers now even though it is accurate, I'm just gonna go in cause I don't like this bulking nail right here. I'm just gonna go in and I'm just gonna chop it off a little bit. I always build it back up again. I just want to get the base colors correct and in place. And then I'll come in with the doctor phone of the name and then come in with the light of forms of the nail to get a bit of a correction coming in here. Okay. To make mistakes, we can always rectify them. We can always find solutions. Teoh. Any problem that's looking a bit better for us? No. Nothing you want you to do what use the amount is C about that tension where your eyes being led? I think mostly my eyes being lead back up to the face again. But I do find that the details and knees and knuckles can be quite distracting. So I'm gonna take these medium color because the knuckles are, uh, pigmented, And I'm just going to go through and do a light wash over the tops of them. Um, not to get rid of all the details, but toe wash it out just enough, then it's not gonna overtake. They arrested the illustration. Uh, that's what happens when you will work too close to a to an image you tend to start adding in details which aren't necessarily required. Street with this. Have a look at how that looks in the whole scheme of things. You see how I just getting rid of some of detail in those knuckle really improved the whole situation? Also, I want you to have a play with this Now, um, make some some changes, makes mistakes mixing corrections. That's what these crosses he for, uh, come through like I did and paint out the hand so all of the skin turn areas will now be complete by this point from here. I want you to go through and we will be working on the clothing and the background next because I would like to do the head at last. It always the best thing to do. Asked Eso. I hope you have enjoyed the class so far on take a Break restaurant hand again, have another cup of coffee or make some water. You've had too much caffeine on and I will see for the next stage of this illustration. 11. Clothing and Fabric: we really aren't getting through this illustration now, aren't we? I'm so excited, Teoh. See your guys progress. So please, even if it's a pot progress put your portrait's down in the projects. The open your project so simple. It's just ah, follow along all these classes and illustrate at this portrait with me when then in the future. Other portrait. Um, yeah, I just I would love to see the work that you guys are doing. I'm I'm so excited for when this class comes out to you guys being able Teoh sees me. You're amazing work eso We're getting back into the swing of things in this work and we are going to be working on the clothing and maybe getting into the background on this one, too. What I wanted to focus on is the fact that we're maintaining that focus on the face. Eso I don't want to get to hyper detailed in this, uh, clothing. What I'm just going to do is I'm coming in with Darkest of dark for the the shit and I'm just putting in some shadows. I really should actually make a new layer, so I don't disrupt anything on my hand just coming in and building up that shadow area. Now, I went into the smaller Russia just to be a bit more, um, safe around the edges. And I can come in with a bigger one, mixing those two darkest of docks to make a medium dark and again do what we've always been doing looking back and forth with those colors. Now I want to basically get our biggest of shadows in here. I'm going to leave the on finance and going to use that as a color picker for myself. But yeah, I would prefer to have a bit of that darkness coming in here like so really evening at the texture because you can see just wearing a synthetic based gone it. So the texture is it's fairly flat besides the straps on it and also to with this hair, we just I'm almost gonna paint over completely. I do know where the head goes, but I just want to have a good base for when we come over without hair earlier that all of the shirt in all the clothing elements I look complete there, Just come here. I just want to use this background color and just give that shoulders and definition of where the shoulder actually starts. Okay, so I'll leave the arm for a second. Let's just work on the jump area. It is quite dark, so I hope that you can see that clearly, I'm gonna pick the highlight color of the jump on. It might mean that highlight koa slightly DACA using as on using the knicker brush is quite , um but And you see, I can just go through and I can make strapped with it here, like so, and bring that texture back to the jumper. Uh, you can see the stripes orbit, Doc for me. So I'm going to lower the capacity of my brush so we can get some of that a shadowing texture in. So we'll start across this this chest area here. One thing I recommend Teoh is fuller, the contours of the body. You really want to see the shape of her off her breast or her Colburn as we as we put these lines in. So even though it is front on, there is really subtle coves to the lines. To really emphasize the three dimensionality of of this figure, you can even come like I am. Go spread out of it, make a line over here and then work your way back following those curves, filling in lines all the way back to this curve. Over here, you have to just kind of guesstimating those lions meeting up. You can also see that when we get into the further shadow areas I'm not doing as many, um, stripes. I'm not joining the straps all the way up to the top of the illustration. This is more just eight, an indicator off the style of the garment rather than, uh, putting in every finite detail could if you wanted to spend. I was working away this you have come over to the arm. I want to use that super dark here, and I want to break up and bring those shadows in more. Here, just bring the shadows in early and with the shadows comes highlights as well. But we'll get to them. It will take some of off striped color. Yeah, and we just put a little bit of a highlight over those those edges and then have ah stripes coming off, then giving a bit of texture to those wrinkles and we can also have the stripes coming down on the shoulder a little bit, too, with a bit of a break in the middle for appropriating room. Okay, so we have that part of a jumper really is coming along really getting done. And I feel like we're well on our way so we could do the same thing with the sleep. Sleep has a bit more core imposing it. We come through and first up we're getting those tined in crisp, looking out with two coz with a lot of section is and where the doctor sections Dominican coming without extra doc working there, too. Spring down that brush a smaller just so I can get this detail area in the darkness of that old coming off there. And we want to come through here and you want me not this joint between that hand sleeve. Also, we want to just come here. There's a really subtle line you can see and hear that indicate the back backside of this leave, so you want to calm down and just to give you a little bit of advice and make this specific line for the arm as clear as possible against the the hair because we can use the layers on in order to draw hair underneath. Just keep working in those different points. Once you get the two big blocks of the light and shadow, you come in and start working in those days milder color transitions. And then we can come in and do our stripes. Now I'm going to pick the light color again. Make sure it's the low opacity down till it's about the same size. Just using my test overhears example. Okay, um and then you really want to focus on following those lines of control. So this comes out and then it rolls back Eun because we have the transparency. It's picking up a bit of the highlight and lower lights of the jumper so we can go along with these stripes now, Really? Keep looking at your reference for where that the controls changed. You wanted to be really subtle matching the jumper, find the places with the lion should disappear completely. Like, um, you can see he that I'm going to be working more on the highlight areas and leaving gaps like in this area here, leaving gaps for the the doctor just be docked without any sort of texture on it. It'll then just be careful coming up here. And you want these lines to be coming off the top u. There's a bit more definition in in the highlight on that edge there before it goes into a doctor, a dock area again, you can use creative license. You don't have to have the exact number of lines which there are. They, uh, in the cardigan. You can I have more or less. Just think about the way that the lines curved around the form. Um, a good to participate. If you were looking at my warming up exercises class, I have a whole bunch of exercises on why frames and building life rains around three dimensional objects. So I would recommend reviewing that sort of technique for this specific. I'm kind of work with the contours. Now we're going to go down to a heavy knit wool Scott again. We start off by focusing on with this highlights and shadows really booking in those areas , I leave your ultra highlights to the in ultra docks to end like the little tiny nuances between the different I'm sorry. Different um, stitches because we can build them up after we get a bit of a base. Yeah. Stop colorful, too. Fingers here. Keep that texture in there. So we might go through the smaller brush. Just Mr Builds and texting to this area can be a little bit behind color. Okay, So it will come in with these docks and really just push this dark area first. You can see that it's almost almost black, almost emerging in with the with the jumper here. So what I did is I picked the jumper. If you didn't quite say that, I picked the jumpers, doctors duck. And then I went on the color bill, and I made it into the red turns at the The scarf is in to really get the Scots stock a stock, both of them eventually black. But it's good to have the college ended temperatures correct to the area you're working on again. If you have chosen your on color palette, you might have chosen to do a monitor in private. That would just be more working on the specific values. Just do A few stripes of the doctors stopped to get a bit of a sense where it's really sitting in, then pull that more on that base kind of Moroni. It's slightly doctored in the middle of the of the threats Bring that into my goal. He basically is to just go back and forth, figuring out exactly the turns which were coming across here. Um, and if you need an indicated to know like, Oh, when you feel like you sort of done either a, uh when you feel like a turns are right in comparison the photo or be when you're covered all those little sketch marks that we made earlier. That way you'll know that you're going over the entire peace and really given better indicators to the look in what looks good. Where can really overlay those times. Pull that doc and just do softly over this one doesn't need to be light in that vibrant. Okay, so I was trying to get there, but we should probably put some of that rule text in to his staff. I'm gonna pick Ah, highlight Red, come down till we have a line. It was about the thickness of our world, and I want to just stop at a, um, more obvious areas that just here and just make that that chain pattern down. I remember to use a lower capacity and not press too hard. That way you will be peeking out. The highlights and low lights have already built. Continue that chain motion away across almost like a Birkins exact in this specific, uh, needing that working with at this half of the process looks best on me on the dock areas because we're working with the highlight red. So once you get to the highlighted areas, you make just like, no, see any anything coming in off court changing anymore, and that's fine. I want you to focus on Ah, the coat, um, of the work in the fact that the pen changes as you get, uh, this more to this, uh, side on perspective with the niche. I get small, abstracted, and then we'll come in and pick up darker color and will make our brush smaller, and we'll define where they might be. The gaps in it coming up to the mall highlighted area. So it's basically doing their best of what you were just doing. Big, more noticeable filling in this where gap in the niche might be, um, you can see that I am not drawing everything that line and leaving it to be a little more abstracted. I really don't need the ultra definition when it comes to the scar on Denny needed objects . Unless that is what they're trying to define. Because, as you can see, he I'll give an example. This is what would happen if I was doing unaltered definition of the NIT. It just looks messy and it takes away from the rest. I mean, think of your shadow points to like. It is a lot of heavy shadow in here. Um, the shadow side of the net come off more strongly than the highlight inside. Get this bubbles and inflections coming and you can follow this. Be pen right across the top. You might also want to come in like me and spoke that a bit of the side edges of your on it so we can come in with the darkest of dark hair color cause that's gonna come in here and work around that that needed area, making it a little more matching to the texture which were providing it. You could do the same down the bottom of your thing. You take you your shirt cover, and you can come in on those dents and out with the with the stitches. Give it a bit more of a realistic and it's needed look to it and come and just used even more hot, higher highlight on just for the little touches. Um, with the thread has changed. Color a little bit with a lot is really just catching across the little threats. It's really good to have that that depth and texture off the those multiple levels so you can see I'm coming in now I'm working on whether that threat is really maybe it's almost got more synthetic and 13 it than other areas. Oh, it just of the right shine to catch the light. And again, you can use your artistic lives, and you might want to have it more, more like texture, um, in more Qala texture. He could go and make it a bit of a move, bring it down a bit and have that secondary secondary color popping through here. The doctor still and really add more and more texture to that Scott keeping the same sort of level of detail concede. Just adding in that purples completely changed the look. It's bringing a little bit of a cool shadow to it and giving a bit of variety to the thread . So if I do out, you'll see that the clothing is now done, and all that's left is her here in the background. So we will visit the background in the next little mini episode of this tutorial and then finally work on the hair. I really hope you're enjoying this person so far that you learned a bit in this lesson about how to portray textures and how dio portray light sources on your clothing. Uh, I can do a whole class on that if you feel inclined that you want to really see how to demonstrate the folds on the fabric or anything like that. But my recommendation to you is really looking your reference and focus on the blocks of shadow in the blocks of light. Get those to Biloxi and, like we did on the sleeve and then start looking for your meat turns. Go through there and then once you figured out all of those block clip shading, then coming in and adding the texture to your fabric and practicing with different textures everything from sentence to soap schools, everything that it clergy. And then eventually you get a better understanding of what you're doing and what you're working with and be able Thio, Thio, Demonstrate and deliver quality Ott with different fabric pictures throughout. I look forward to seeing you in the next class. 12. Background: welcome backs. And now we're gonna be working on the background. So I'm just going to go to limit schedule is and add a newly just above that and low or this working way, as we have been working on. So I'm own that. That is the late eight if you're following alone exactly with me, and what we're going to be doing is making a background. My recommendation for any background is if you're if you're especially, feel this sumed into your subject to make it as indistinct. It's possible you can go and really define your background, but work with thing called both link here familiar with photography. It basically means that you have an area which is in focus and an area which is not in focus. And generally that area in focus will be your subject are maybe a little bit in the foreground, living in the background of the subject. And then you'll have the background and Steve the super foreground. They would stopping at Blue area and Gloria. So that's what we're gonna do. We really want to get this thing, this tree sort of in here, but we wanted to be indistinct so if you can see what I've been doing is I'm roughly using my reference and I'm jumping in and I'm adding in a color blocks of of the tree. Different, uh, basically adding in the different, Uh, what in here? And I wanna block as much as I can over the top of, uh, the the sketch that we had. Um, I have a reason for that coming up shortly so you can see I'm also going in. I'm adding some warm times from Google. Times are this tree's got an eclectic array of, um, colors in it. When you looked at, it's got some green based grays and browns grays, some straight up Brown's. We just want to play with that and this layers under all my other lay. So you can see that that I'll have to go to this, uh, shoot later. Just a race. Um, that little bit there is that Okay, then I'll go back here and I'll keep working on adding in these shape books. Now, when I add in these books, I also wanted to be in a similar pattern to what is on the tree. So here we have some great banding So I want to come in as banding and I'm basically making and almost word out of you off the tree, which the tree already has a bit of depths, but she's standing pretty close to it. But because this is illustration, we have the advantage of being able to change things from the actual photograph. And I thought the background would be a good journey. Demonstrators for you, if you want, you can do something completely wild and different. He you could go in. You could develop a whole new world for her uniformed in background if you want to. But this is just a really good when a practice on demonstrating for you to be able to make your backgrounds in this sort of weight when you're doing such a zoomed in port tricked couple of wider structures in yeah, when you bring this up just a little bit a bit of a Lyta background of a human and you just really good back and forth until you're happy. And then what we can do with this lay as we can go up to the magic tool, a motion blur. If you want, you can make it as blurry and as not blurry. I want to. I just like adding in a subtle bit of, uh, to soften the texture brush. I'm using a just a little bit too, really pushing into the background. Just demonstrate that is to say, intention. It's just is a tiny bit softer. So that's no Ebola, a lot of blood, even more so, we're just gonna put it subtly here. I'm not just pushes it back a bit, figure we have our simple texture in the background. Now you can put more work into this. If you want, you can go back in again. Put in some definitions, such as using a smaller brush. Did it cut out here of your body? That little lines and nuances in the box and you can go like now I'm looking on top of the blood lay Aiken work like this, and then I can go back. I can't learn even more than if I want Teoh blowout these extra new elements and can believe these elements as a bit of a a relief, a bit of a definition to the background, Um, and really just player play around with it and find exactly that style I'm comfortable with . I want to make sure that the elements in the background state pushing the background. But it is fun to have a couple details, especially if they're working, is leading line. So, for instance, if I had a couple lines like this as a drastic example, which leaves the audiences are in from the the border into D subject, that could be very useful. That might be things like your behind your subject. There might be some polls or things like that. So I really think about adding in a little elements like that into your piece to really bring out the fixed point, which is your basic portrait and again, artistic glasses is key. So I feel like this is pretty good. A wrap up for the background, a quick little lesson. Just you really enhance your illustrations. So that was the before and after just working in those little details, making sure it's really pushed back. It's still blood and using the Glo tool, I'm just putting in tiny details to make it realistic and comfortable s, and now we have the final piece of our illustration. Now we're going to go in and do the hair in the next video. I look forward to seeing you for that 13. Hair: And now we're coming in to the final pot off our illustration. We are going to do the head, and we're going to do it in two pots We're going to do in on delay and an overly so the end earlier is going to go under our our face and hand and everything like that. And then we're gonna do it over later, which will go over top of everything and really get those fine details. So the first, the under layer we're gonna put ah, here is going to be late nine. Just underneath the face. Well, I'm here. I'll just look out those two days. First thing I want to do is I want to bring a bit of the scalp in here into the, uh, physical, the parting of the head, and then continue to work with a big to small methodology, adding those, um the blue lights that to the hair and highlights of the hair, all that kind of stuff. And just as you can see, if I cross here if I used this bright yet I can't. You can't Didn't also know it is because that's the other layer. So I'm just trying to blend in with those layers at the moment, and then I can go back over those layers when we drop earlier. The reason I'm doing an underlay and an early is because that way I can come right up to places like, uh, this sleeve and I can just paint underneath them, which is great when we want the continuous strokes of the hair coming through. And it also helps because in here you've got your docks in your highlights in docks tend to be the shadows pushed back and highlights and to be over the top so we can kind of work. Al is in that respect as well, Getting those color turns into the head softness of the transitions in this fund earlier. Cool. One thing that's interesting about, um, this lady's here when it comes Teoh. Working with it is that she has black and Brown based hit, so she has cooled turns from the blacks, a swell as warm turns coming in from the highlights of the Browns and her Hey, um, which is further down, which and only is his son damaged. But I'm like all of us. You'll notice that if you don't get your hair done to regular. If you had belly adore highlights arm that you'll have a lighter tinge as you work your way down here and really see that as a working. Now, we really just want to get the flow of where the hair is going. Um, I just did the general just of the look and feel of it with this part of the the illustration might bring up our pastie again of it just to get the shapes coming in, doing a fund, hair out too much. We want still to still have a clear diversity in it, uh, texture in its shape. But again, this is the underlay. Also, we're just We're getting more of that form progression happening rather than all individual hairs. So I'm making it very, very soft in its transitions. I'm trying to make these gaps in hair little more obvious up here. Working with the flow of the head, you, sten, tend to start with you from the root and then pushing your way slowly, further down through the illustration. And now we're working on the hair. We don't have to worry about, um, the background getting in the way uh, so I can really play with more the highlight highlight color and to really get this this week coming in from head. But you can see that your hair naturally kind of formed into chunks. Even there, her hair is beautiful in clean and free flowing, her hair is breaking up into individual individual chunks. Just it, like with the magnetism of your head. Needles acid Do with the fact that, uh, your hair, um, tangles a little bit like and all that kind of stopped down down the basis and the wit how it sits on your body and everything like that. This I'm so many different reasons why your hair works the way it does. Okay, so you can see we've got a kind of good Baisley. And now if I just turn on, we really figured out that the color forms and everything in the head and almost made a blood out Look to the head. So we've got that. So I know I want to go into above a while the adrenaline is now and create a new illustration. Leah, I'm just gonna look out that Haley for us. Yeah, and start working on this drawing layer. We're gonna work, mill down and then talk down on these illustrations. The reason is her hair is so long and we want off. Struck's to kind of follow along the entire hairline. So you want to really? You won't be able to get it from all the way top to bottom and it's laid. Um, so we're going to go through and, um, kind of work on this bottom half and then we will be able to hide. Strikes were used from that on next on the next pass through. So I'm going through now, and I'm kind of defining more of the chalks in the hair I'll keep. I will keep color picking, but this is not so much now blending. It's just to get at the areas of the Herald I find are, um it is basically to find the areas of the hit in which we want Teoh refine the color temperatures right, or the highlight is right. We wanna bring it into all the areas. So that really bright Corporal Highland, do you want to bring down here? And at the moment I'm no really drawing each individual strand of ham still drawing chunks and I can come through and draw a couple individual has every now and then, um, and just work down with head this way and would just play with whatever settle, keep carping all of those individual, different colors and get a good sense of, uh, highlights and low lights and coming in and adding some strands ahead. Now again, as I keep repeating, as with all sections of this illustration, if it's not in the main creatures on the face are you don't want to over render it. You don't want this hair to be strand for strand absolutely perfectly defined because then that rendering will take away from the beauty off the rest of your, um, image. And it will take away from the focus point, which is the face down here. I'm just sort of blending the hair into that shadow area. We built shadow areas and mix actually off, uh, hair and, uh, Jumper, So I really wanna work those different areas together. It is the edge of your image, but it's always beautiful to make sure that you really written the image all the way to the edges and every stroke which it ends up being the final strip isa decision you've made So you can see how also, as you're going through this, if you're referring to my illustration, end the reference image that I'm actually tweaking flow of hiss slightly just to make it more pleasing to the eye. Um, again, it is creative right to be able to It's your creative right to view with you to play and, um, and tweak things and change things. If I wanted to, I could change the way her nose looks on her face even to really just have a bit of it. Understanding of the freedom of illustration is really important. I recommend giving it a go, giving yourself creative freedom. So we're coming down here, and now we're on top. I'm just gonna put in a bit of a larger work on this side of head. Just get that big kill in place. Um, And then I work with the highlight column, comes through human and have that softness. Sometimes, having dig a self districts and wax as well as the small loans. Yes. And come in, honey. What you want, husband? Do you want food? Yes, Just what you can. I think Have some popcorn chicken chippies, have you? And we also want to bring that robs in from the other side of the head. And make sure you are really when you're doing, kid, that you're looking at the whole picture. It is so easy to get caught up on creating a few beautiful strands in one area that you forget about the rest of your competition as a whole. And this model is a great example of it. But I don't forget for the diversity in hair color. In most cases, people will have multiple turns running all the way through their care. It will not just be black, not just be white, brown, blond. There's so much texture and change in every every strand. It could be a slightly different tone, Not to say even the unnatural highlights. Which people do you get in their hair? So you see, you have kind of come up midway and now I wanted Teoh introduce you to working around the face. So if you zoom in to model, you see she has a few. I lost strands of hair so we can come into her temple, for example, and start working then in now, you can keep on this sneaker brush like I am. Um, we can move to a pencil brush and an example. Pick up the sketch rush and just do a couple fine strands. Keep them not full of Passy. Just so they can be really loosely across the surface, a different head and coming across this year down here just to give that really dimensionality that view. Well, I lively look to the hair instead of having that, uh, that shop, uh, line of hit head face. It works really well in building the roots of your hair as well. You can even use the pencil to put in some loose strands of here in different you're different colors coming in the composition and flowing out just outside the hiss and example Here we have been internally in the competition, adding in a few highlights trends across this dark area like so, and then you can have the hit coming off the main body of here a little fly away and coming back in again, uh, very organic process. It's experimenting. The undo button needs your friend. If you don't feel comfortable with some strands of putting you can take him out again. We're gonna continue up. He now I'm going to go back to using the Nico painting brush working in he's highlights, etcetera. I've actually have to keep reminding myself. And you will too, to look back that you're, um sorry. You look back at your reference to really see that you're getting the right turns in there . You're getting the right shading the right areas, being prominent and being pushed back. Just mixing in what you see and you're creative flair. And another thing used to do see where the hearts and the strand actually actually come. When example in this kind of fighting, the highlights will be at the peak of the cook when the curve is coming towards you. If you're unsure about it and hair is quite a complex subject, what you can do isn't refer back to the sleeves and the clothing, and you'll see that as if it's more on top or outwardly splayed. Um, the light is shining stronger, and if it's underneath or going in the light this week, and you can always take your colors and make ah highlight color and make those small little refinements and details example. Here I can make the same most re dimensional by putting just a little bit highlights some of the areas of this over overall highlight color. I mean, it really brings those few strands to the full front of that entire block, for he can bring thes strands here to the forefront. Was that highlight? Don't forget, I am working not full, not full opacity. There is a bit of transparency in my strokes which allows this technique to work efficiently and effectively. Don't forget the edges of your hair. You want to have a bit of that natural texture to the edge of your hair is it comes round and maybe you will have highlights coming through at the top all the way to get to the head . One thing you want to consider to know on this model particularly, but in others use is there a back lights that will affect the color of hair on the edge of the hand? Take this bright color here and really defined this swish. Okay, coming through and take this inch and you can also build those shadows back in again like I am now, um, like define different areas. So now you go now you're probably at my stage where you're starting to get pretty well defined hair. It's It's pretty well sculpted and you can see the three dimensionality of it is just trying to find areas where it's flat or there's no texture or a big chunk of the same color , just breaking them up suddenly, whether it be just adding mining texture to it like I am you for giving it a bit more deaths by adding a touch of heights in a touch of shadows. And I might just come in here above the scarf and put a couple loops appear coming in and around it to show the the interaction of the different objects. And there you have it. That is our illustration. I really hope that you've enjoyed creating it. I'm going to come back to you with one final, causing the iPad before we wrap up to give you some tips and tricks for constant improvement and ways that you can reflect and improve on your drawing, I again hope you enjoyed it. I can't wait to see your drawings in your projects. Nazi Easy 14. Tweaks and Corrections: Hi, everyone. Welcome back. I just wanted to leave you with a couple tips you can use to check your hours and improve your artwork s so you can see him. He I've selected all about drawing layers. I'm just going to, well, selectable again and group them all together. Just be able to click on the top. Yeah, exit group. And then I'm going to duplicate that group just so I can look the what I've been working on . I just said we're not going to touch that. And on this new group, I'm gonna friend it. So we have our entire illustration, just as one big illustration they were going to go. He, um And we're going to go to Hue and saturation. So what I can do is show you what your hours will look black and white. Now, you would really benefit from using this tool to see how your contrast in your values are going So you can do this and you can also turn. You're, uh, own reference image black and white. And that way you'll be able to see how, like I said, how your values air going out. Whether you have enough shade and you're really sculpting out that that three dimensionality in your illustration. As you can see here, we did a good job. I want you to know that turns such as Red will always come up is a mid turn. So even if it's a highlight, just just be wary of that. But you really just have a look at whether in black and white your focal point still remains, which is the face. And it does because of the highlights abused, whether there is a good amount of shading to really get a three dimensional ality to your drawing and whether it's got interest. So enough contrast in it. So I'm gonna end that and I'm gonna get back. So it's back to color again. Like so and then I can also go through here, and I can, uh, slay with the color, brightness and everything so I can change my composition if I want a doctor or not. I can change if I wanted to have a bit more color and it can change the color completely, and that's a bit of fun with these tools. So let's just go back on that. I can also go to color balance. And if I feel like I have to much red turns, I can push down and push the blue times like that. You wanna work of these? Sign is really suddenly, I think, also pushed more pinks or greens, and I can push more kilos into my composition or more of the deeper blues just to adjust my color if I feel like I'm slightly off track Curls is great, too, because curves affects the contrast as well as the color. It's really to do with your lining at. This is a tool which he would use if you were using photo editing software such as photo shops. You can go here, and if I want a little more contrast, I can play that. I think this first half is my shadows. I could bring down the shadows, and I can pull up my highlights to have more contrast in my illustration, and alternatively, I can pull them both out. I'm in flattened them, so there's a lot less contrast, so you can play with the looks you like to the look and feel of your illustration until you find something you're really comfortable with. You just get back on that as well. Uh, and then you can also use re color where you flood, um, the image with the specific color you currently have in your selective color. So if I make it really obvious and I go read, it will flood the image with that specific color so I can make it all red in different times of red. Or it can make just the specific area I'm selecting. It will be like your highlight color for such that that can be read. This is a really fun tool. The play with if you want to add magic except to it or again had to check your values, we're gonna cancel that out. And I think I can do is it can go to my canvas and I can flip my canvas Now, this is a really great tool if you want to check on the anatomy of your illustrations. So if I flipped horizontally, I can see it looks very different, doesn't it? So I can see that maybe my eyes might not be exactly how I wanted to be. One of them can push out. Uh, let me get a pencil. I could push this, I could make it a little bit wider. Um, and perhaps I could push this bit of the hair at this. Flipping back and forth between your canvas is a really great way to be able to see any mistakes you've made. And you can also flip your your reference materials. But let's go back and just I had a normal. And finally, with this, you can go back into your liquefy tool. And let's say I wanted, for instance, to pinch and make her eyes a little small. I shouldn't go in. I can make it really subtly smaller. If I wanted to, I can make her mouth small. If I wanted to. I could make a no smoking. I wanted to. I can expand them again, that specific points if I wanted to make her Gregory manga, and I can reconstruct everything so I could just keep the eyes if I wanted to and do settle , pushes and pulls so I can print it. If I wanted to make that head bigger. Now I can play with that. Construct all these. I might even be like I feel like I round. He's a slightly different shape I can push in, cool and tweak her face just a little bit. Make her nose bigger. If I want to put her lips and pushed them out. Play with it. Um, Anyway, I want Teoh to really redefine the face the structure and help me learn my drawing and improved. Um, so, yeah, that is the liquefy tal. And that is a my few tips and tricks to help you improve your artwork. So now we are just going to sign off. Are illustrations always important to leave a little signature in there? So I'm doing it on a separate layer. I'm just going street this right, my signature and then grab it. Make it smaller in fitted in the corner there. I think you guys so much. I will see you in person in a second to wrap up the class by 15. Final Thoughts: Well, what a well in that class. Waas. Thank you for sticking around to the end and participating in this really time portrait illustration class. I'm very excited that we had the opportunity to spend this time together and I can't wait to see the at Comes off your projects. Please leave them down in the projects. And also, if you feel like it, link me. Teoh your social media, wherever you are, posting your odd so I can see the fantastic work that you guys do on a daily basis. Now you have completed this class. If you want to go see other classes based around portraiture, I have a few. Like I mentioned, I have two closets. How to draw a face in minute Crete, a mastery. I also have other classes teaching you about how to add expression into your portrait. It's and how to style eyes your portraits Also Now you have learned how to draw in myself. You can take the opportunity to find your own style with my class. Finding your style. Thank you for joining me. I hope to see you again soon. And I very much look forward to seeing your projects hopping up down below. Till then, keep creating