Expressive Watercolor Portraits: Fresh Modern Profiles and Skin Tones | Luz Elena Caballero | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Expressive Watercolor Portraits: Fresh Modern Profiles and Skin Tones

teacher avatar Luz Elena Caballero, Painter and Illustrator

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (1h 53m)
    • 1. Intro

      2:03
    • 2. Project

      1:55
    • 3. Materials

      3:10
    • 4. The Features in Profile Portrait 1

      13:07
    • 5. The Features: Ear, Neck and Hair Portrait 1

      6:13
    • 6. Second layer Portrait 1

      16:24
    • 7. Hair and 3rd layer Portrait 1

      10:46
    • 8. Finishing touches Portrait 1

      6:06
    • 9. Portrait 2:The Features

      10:29
    • 10. The Head and Neck Portrait 2

      4:07
    • 11. Second Layer Portrait 2

      6:55
    • 12. The Hair and Third Layer Portrait 2

      10:49
    • 13. Finishing Touches Portrait 2

      15:01
    • 14. Some Fun Elements portrait 2

      3:55
    • 15. Thank you! Skillshare 2

      2:02
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

208

Students

6

Projects

About This Class

If you love watercolours and have always wanted to make a portrait, but did not dare because you are afraid of mistakes or maybe you don't want to spend a lot of time developing your portrait with pencil first, this is the class for you!

This class is about making a face in profile in a free manner and exploring skin tones using watercolours. I will give you a few tips on how to place the features of the face and then playfully develop our portrait. We will talk about values and how to apply them depending on the skin tone.

We will be working in a fun exploratory way as opposed to an exact one. Creating your portraits in this manner gives you room for playing and experimenting! The result? Playful unexpected portraits!

There are two full step by step portraits in profile, each facing a different direction and using two different skin tones. You can choose which one you would like to start with, you can then take a break and try the other one after a few hours or the next day. You don't have to do them both at once but making them both will give you PRACTICE! I have added a skin colour mixing chart under resources, or if you feel you need a more in depth explanation, check out my previous class here on Skillshare:Expressive Watercolor Portraits, creating fresh modern portraits.

In this class you will learn:

  • How to place the features on profile the easy way.
  • how to mix skin colours with a limited palette.
  • How to develop the layers (washes) on your portrait, and how to do it depending on the skin tone
  • Playing with hair
  • Adding some flair.
  • how to loosen up and have fun!

Meet Your Teacher

Teacher Profile Image

Luz Elena Caballero

Painter and Illustrator

Teacher

I am Luz Elena Caballero, I am a painter and an illustrator. I am a full time artist, I make paintings using oils and I love using ink and watercolours for my illustrations. I get inspired by fashion, watching people, flowers, the seasons, food...so I guess almost anything...I love travelling and immersing myself in different cultures(also a big source of inspiration!). I have lived in Colombia, where I was born and raised, but also in the United States, Italy and Argentina. I now live in the Netherlands with my husband and two sons.

If you would like to know more about me please visit my Instagram  where I share more about my daily art practice or my website where I share my paintings by clicking on the links to the left.

 

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Intro: Hi, I'm Lucy Linda. I'm an artist, I'm an illustrator. Today, I'm going to teach you how to make loose and expressive portrait in profile using watercolors is class my seem a bit long. But the reason is that I have included two full step-by-step examples of making a portrait in profile. Each phase in a different way and with different skin tones. So you have the option to do one or both of them. I will give you tips on how to place features on the face and develop the portrait playfully. We are also going to explore skin color. We're going to create our light and dark values depending on the skin tones that we are using. When using this technique, you won't need a pencil on their drawing, which saves time, but it also gives you freedom to experiment and to create looser, fresher portraits. And hopefully not only while making portraits, but also with whatever else you decide to render while using this technique for this class experience with drawing a watercolor will be very helpful. If you will. I feel like you have the need to have a more in-depth explanation about strokes, washes, water control. Make sure to check my other class here in skill share. Expressive watercolor portraits. In that class, I narrowly splaying basic watercolor techniques, but also how to size your paper. If you're don't have watercolor paper Block. And the differences between culprits paper and hot press for example. So make sure to check it out if you feel like you can use. So more explanation about these basic watercolor techniques. 2. Project: The project for this class is to create a least one loosely render portrait in profile using the skin tones that we will be covering. So you can choose to make first one portrait, take a break or a few days, and then make the second portrait. By trying this, you will not only be able to learn how to work with a different kind of skin tones that I covered during this class. But also you will reapply the same principles which would automatically give you practice. I cannot stress enough how important it is to practice. That is the only way to get better. And the better you get, the more phone you will be having. Of course, you can always look at pictures on Pinterest or, or magazines for inspiration of observation, but don't copy, just really use them as reference. I encourage you to make the portrait you're on. By completing the project, you will put in practice what you have learned. And hopefully this will motivate you. Keep on creating, experimenting, and developing your own personal style. I will really like to see the portraits you create, so don't forget to share them in the project Gallery for this class. And if you post them on Instagram, please stop me at Lucilla vena cava yet oh, I remember though forget to have fun and enjoy these discovery journey. Honor their project and Resources tab for this class, I have included a chart with the basic skin color formulas, as well as a diagram with the proportions of the face in profile. So feel free to use them. 3. Materials : For this class, you will need watercolors, of course. And the colors I will be using our yellow ochre were medium read, burnt umber, assuming queen some ultramarine or cobalt blue, I will be using ultramarine, but cobalt blue is just fine. And parallel line green. These are just tubes, but I also use pants. You see same. So whatever you have available, some optional colors are yellow, blue, and stella two class, which I will be using or my first portrait demonstration. But they're not necessary. You can use any bright greens or blues you might have like VD, DM, or a two class, which often are included on watercolor sets like this. But again, they're absolutely optional. You may use whatever you have available. In terms of paper, I'm using a heavy 300 gram culprits watercolor block from Honolulu. But any other heavyweight paper would do other browser use our poverty Ohno for arched, for cancer. But anything you have available locally is perfectly fine. Just make sure it's cold press and preferably a block because we will be working quite wet and the vapor won't work. You will also need to add jar with water at cloth because we work very widths. Some paper towel for cleaning or making nice textures. And if, if I lead with wells where you come sort of makes your colors, I use the small dishes. Yeah, these are very inexpensive porcelain dishes I buy at the supermarket. Or ultimately you can always caught a paper cope and just use it to mix your own arsine. You will need a roan brush. I'm use him to Princeton Neptune because they hold water very well. And when you wet it, you can get a very nice point. Any other brush that you have that can do the same is perfectly alright. I'm using an over ten, but a number eight is also okay. Also make sure you have a small square or a strip of paper. Ideally the same paper that you will be using for your portrait to test your colors. 4. The Features in Profile Portrait 1: So I'm going to start my wedding, my brush. I'm gonna use my number ten for this because you can do with foster. And I'm going to quote some of my yellow ochre. And I'm gonna draw a penny into a bit of my vermilion. And then I'm going to test if this is the shape, I want to half or not. I like I find that a bit too yellow, so I am going to chose a drop more for median. Thus, a nicer don't. And again, I cannot stress this enough, but just start a slide as you can. That is still too dark, but I need to do it a bit darker or otherwise you don't see it at all. So very wet and very light. And we're gonna make sure that we leave enough space around these areas so that we can play with the hair, as he says, the profile and you don't need too much space where the face is going to be. So I'm going to make dephase will decide on the hair on the sides and then I would leave and will go down in about a third of where the paper is to just have a little point there. I hope you can see it. And I'm going to make nato shape. And just a little bit of a curve, like half a C or something, nine dots. Then I'm gonna take this measurement here. And I'm gonna turn my paper around. So I'm gonna say this measurement right here. And I'm going to go down once more with it. Again, a little bit of a mark. And then from there, let's say measurement again. Double check. Yes. And then from there again though. So we'll have three liter points or my favorite. And don't worry too much about it because you won't see it. Once you have done your portrait, you will notice it, or at least first curve here is our foreheads. And these other Leto Mark we have done is the base of our nose. And this one is going to be where our Chin ends and are nick begins. So the nose of course. Protrude out of the phase, and this is the base of the nose. So what we're gonna do is go from this point outwards, then going to round it to sort of join these two lines, this horizontal width, if this diagonal, and we'll just round it up a little bit. And again, this is not set on stone, is just to have an indication of where the base of our nose is going to be. And the worry too much about this because they're underneath of the nose. It has to nostril and is always in the middle of a shadow. So these will matter. So don't worry about it too much. So now that I have my nose, where the nose comes out, that is more or less where my eyebrow is. So I'm going to lightly draw that eyebrow and it goes upwards and then it goes down again. So again, this is very light and you don't have to worry so much about the color of the eyebrow yet. We're just BC with placing where to iro is. Don't be afraid to leave a little bit of space so that you can determine that later. It's just about the highs. Then the eyebrow to the eye. He said LIGO, curve going inwards. And thus where your eyelid is. My ideate. So I go down in words from where my eyebrow is place. The eye continues to go a little bit inwards, and this is where my iris a's. And when you see the eye from the profile, you don't see so much of it because a lot of it is in the shadow. Just make sure that you have a diagonal sort of going inwards, not straight line going down. So here's my Irish. And then we have underneath I, which goes from there and little bit outwards again. And then it goes in forming and beautiful triangle. And then we have the eyelashes short of going a little bit into the nose. So just to make clear, I'm going to demonstrate in this paper, this is the shape of the eye in profile. So this triangle is formed. And this is the eyelid with the Irish. And the underneath of the I form in these sort of line, not the each line. And we're gonna come back to it. But for now we have the placement of our eyebrow on the I am going to redefine the forehead because we had left it. These are shape and then from here it goes in Fort again. That's where our hairline is going to begin. So again, you see I'm working very light and I'm just sort of playing around with the shapes. Finding more of the features are in deciding if it feels right. I think the win of the nose can be a little bit more inwards because the sort of aligned with the eye. So I'm going to define that and it'll be more. So that feels good. From the nose. We go, we take this curve and go inwards again, and then adwords. So you sort of form Alito see shape, and you should be doing the slide, but I'm going to redefine it so that you can see it a bit better. So that is that space between the nose and the lips, so it goes inwards and then afterwards again forming a c shape. So I think my nostril is sort of from the wing of the nose and then going inwards. Do them may softer knows, it's just a bit the darker area and these always dark. So that is four. Now enough definition is going to have to define it that I don't know sets. When I get BC with apes, now the lips. So I have here this curve going in and out, and then we go in again. And that these are operative. And what I always say each leaps, you need to make very subtle. Try not to have harsh lines. Again, this is only to find where our leaps are more or less. So you still need a bits like halfway do the I wear that part in off the leaps line is. And I'm going to show you this is sort of the I halfway. I will put the corner of the eye. And then I'm going to put a little bit more big mental my brush so that I can show you how it curves. So i goes up very gently and then down again. And that is the bargain over your lips. And thus the darkest part of your lips. So for now we'll leave it like it is. So we have going in. Now with take again. Need a bit more pigment. Just enough to go. Should I you see it? But still keeping it light and this goes out again. And actually the lower lip, for now you only have to just put just enough pigments so that you see it going inwards, AdWords. And then you have that space underneath, which is where the shadow is going to be. And that shadow is going to define your lower limb TO just a little bit of color year. That's all you need to have gone. In, out in again, out again, in again and out again. And thus more or less where my G and H have made these would be darker so that you could see it, but I can now take it away. So I can define my tea. And it'll be better on, don't worry if you have the feeling that it needs to be a bit longer, that points is just a little bit of an indication so that you know, more or less where you attain is going to be. I think I made it a bit longer. So I took the point away, but this move away from your paper so that you can see the whole picture. And right now, I have a good feeling about this proportion wise. So I'm going to leave a like this. And what I want to do now is to find the IRR. 5. The Features: Ear, Neck and Hair Portrait 1: To find the year, you'd take the width of your eye area and then you go from where to eyebrow ends. You go once, twice. So this is more or less at the height of the eyebrow where my ear is going to start turning me redefined that point. Yes. So this is the top of my year and the theme with a year is it goes in a little bit here. Then it curves up. And then the important thing is to make sure that your ear goes down in the diagonal up to where the nose or the base of the nose is. So I went down a little bit more but it doesn't matter because they're just normally a shadow behind the ear on the neck if you see it with air. And this is where you ear each place. But don't forget these diagonal. It just goes from out. From that ear. We are going to trace a line going just slightly inwards up to sort of almost nowhere to nowhere lib starts approximates. So I run the elif area. And then we want to thank these nine we have here and we want to join those two lines to form the Joe and I'm gonna make it darker so that you can see it. So you see, you make these line, again going diagonally, a bit more inwards to around where the leaves are. And then you join these line of the base of the chin with your line that you have going from the year down and that forms that Joe lie. And that will place the neck sort of halfway between the ear and the eye somewhere there. Don't worry too much about it at these points is make a leader line and then it goes behind your ear. But I wouldn't worry about it too much this stage because I am going to half hair going there. So it's just to have an indication of where it should be. There we go. So and now we're going to have fun with the hair. And to do that, I'm going to sort of make that little circle that makes the heads use very, very light years to have a little bit of an indication of where we're going to have the hair. So Harry, something I always like to have fun with. And I think I'm going to leave her Nice, curly wavy hair and I'm, I'm using yellow ochre, nothing else as my base color. So this is actually my first layer. And the hand goes around the ear just a little bit around the year, then it sort of follows. If you would follow the line of the eyebrow, you can repeat that sort of movement parallel to it. Like that. So if you were to follow to stand these line, it would be parallel to this one. Then you have it going in and made a bit sort of on the same highs are where the eyebrow ends. And then going up again. Play with it a little bit. And you don't have to commit to it yet. You can leave it a little bit vague and go back to it later. This goes down around the year. Show now, I won't work on the ear yet because I don't know how much of it you will actually see, but we'll get there. And I sort of want to follow that little curve that I made just with a yellow ochre because these are actually, this is going to be our night. I liked this corner, so this is going to be our highlight color, especially at the top of the head. And we'll make an extra light. Years, make it very wet, um, play with it a little bit. Just don't be afraid to make curls. Were waves with it. Just keep it loose and playful. And I'm going to look at it. This is all very light too. I can change my mind about it. And for my feeling that looks at the stage variables. And this is our first layer. We have the year, we have the AIS, we have to know is we have the leaps or neck, uh, more or less where our hair is going to be. Now we're going to move into our second layer. 6. Second layer Portrait 1: So now I'm going to go to what I call my medium tones. And those medium tones are normally in this area of the nose to I'm going to make it a little bit wet because I just want at Eliade are just gentle color of it and sort of up to where the corner of the mouth H. And this is just water. And then I'm gonna drop a little bit of color. Here's the faintest. Thus for me a mutable value, and I'm going to make 200. Shape of war to nose ends. Your cheek begins as also a middle value. And there is also a little bit of a shadow underneath your hairline, but that I'm just going to push color around it. I'm not going to make it too apparent because that looks to harsh. If you do that, then I'm gonna pull these very light color, which is my medium by value, up to the chin. And sort of unified with where my darkest value h underneath that gape. And that saved value, I'm gonna keep pushing it around. So it's very, very light in color. Thus it, now I'm going to go into my darkest on the face, which is still pretty light. And what I'm gonna do is I'm gonna think my skin quarter and I'm going to drop just touch of Alizarin crimson. Just to make that rows here sort of like dots going into these areas and then just, just drop it. It'll be more water and play with it a little bit until it feels nice and soft. And so at the moment I'm just pulling water out. And then you have also a needle, darker spots where your temples and you have something like this. Then I'm going to redefine these in-database, darker, just close to the ear. We should around to define my hairline and either base. Then I went to wet my brush and soft in it. So now I'm going to redefine my eye is going to take and beautiful Homer. And the Irish is going to be the darkest. I'm just gonna put a drop of that and pull it out. Making the eyelashes. And again, you don't want to define the eyelashes one-by-one because it doesn't move match rules. So just doing it like that works very well and is pulling the same color you hot on your Irish when your eye movement at around an intimate. So I think that's, you know, for my eyes steel, very gentle, very soft. So for now that's good. Then I'm gonna take a little bit of that skin color and an ETL beautiful number. And I'm going to put a Leto, Dutch ultramarine blue. And that gives you more of a brownish purplish color. With that color, I'm going to redefine my islet. And it goes from the end of the i here in just a bit shorter than where your eyelashes are. So someday like this. And then the same color I'm going to use. Here is corner, where you have the dark shadow of where to I, and then I'm going to just pay a little bit here. So I want to leave it for now. I base because he's wet. Now I'm going to move into the eyebrow, which I'm just going to mix Burnt number with a little bit of ultra marine. Gives me a lovely sort of gray. And that's what I'm going to use to redefine my eyebrow. And what do you do with the eyebrow is you make some parts that are more defined and some other parts that are lighter. So just blend a little bit. Take your brush without paint on, think up some paint. Too soft in that. And I find that a bit too thick here. So I just think again, my brush with just water and dry it not too wet and push in. And blend lens. We should blend. And these are second that year. And on our third layer we're going to define the things that neat. To be defined a little bit, I find it to be too much into the foreheads. So I take it away. Just water, dry brush, come takeaway and thus free. I like that I think is nice and soft and just needs a little bit of definition we will do in our third layer. Now for the nostril, just mixed and little bit of Alizarin crimson with the Burnell Omer and this pink line. And then with again the clean brush. Just and it'll be humans. The few minute and innovate. So that is not too harsh. Take that color again and move it around, playing with it a little bit of underneath the nose where the you have the shadow of the nose reflecting on your skin and push it up to redefine that wing. Often osha. And just hear with a medium, don't just with whatever paint you have over if you want to double check how much pain you have over just usually don't. So you see, this is very light. I'm going to move the scholar due to beat underneath the nose. And that's all you need for your lips. And this just makes a little bit more of our skin color. Again, yellow ochre with a touch. For meeting. Doublecheck. Can use a little bit more for me. Yes, rows here and then add little bit of Alizarin crimson. And then again, you just Sperry meant until you have a color that you like. I want to have a beautiful rows here. So then I add more Alizarin crimson. Yeah, I think that's an awfully corner. So I'm just going to add a little bit of the scholar I mixed and just try to follow the party of the lips, that leap line. And that's all you need. And if you want to give it a bit more color than I would take a little bit of a Alizarin crimson or make it very, very wet, very light. And just put a tiny bit on your open 10P. You could just enough of that rosy shade. Again, I'm picking up from my paper, so it's very light and just And the debates. Water has gone down the other leap, the lower lip, but he's still very wet. So I'm going to leave it alone for now. Then I'm gonna go back to my scheme quarter. Make that shadow underneath a bit darker. And we should out and peanuts with just water. You write your brush soft in it. And thus it. Now I'm going to move into the ear. And the year. I'm gonna use the same color or hats, but I'm gonna use, I'm gonna add burnt all number to it. And you normally have from the ear a little bit with the hair. So it doesn't matter. To me, lighten that up because I don't want this to be dark. And there's the Agile for a year. And hear some worries the hair, so don't worry too much about it. Anyway, you to leave and you know, space and follow the same curve. Yes, with the same lip corner, you use plush burnt owner mixing that it'll be more of that. And follow that curve. Now make it to be lighter. Esa dark is hearing these area and just make it a bit lighter as you go down. And then you have this curve going in here. And these area, dark corner win and be the shape of the ear. And then going in the worst and face into 0.9 dots. Just steak. These all mean in the shadows. Show. May debate here. I'm going to switch to skin color again and have my yr going in my ear lobe. And this line here actually went down too much. So I'll just play with edges, make it a bit lighter. Making the ear actually by defining the shadows behind it and around it. And now when I go back with a touch of familiar red and give it a database, reddish. Uv is phono the curve of the year and just give it a name it away no more definition. Just play around with it a little bit. There's just not that important because you don't see it so much and it should not be so apparent that it's distracting is just to have the general shape of it. What do you find that year? Nope. This looks great and goods. And then here you have the shadow of the Joe on the neck, also fire of your second layer. Then we have mu of a shadow a year that go in a diagonal goes a, don't worry too much about these because Harry is going to be there. And then there's a little bit of shadow underneath the word in that case. Again, so often. Okay. Now these has dry and I see because of the water that he left a mark in some places you want that? But I find it's here, B2 on 11. So I'm just going to take a little bit out. Nice. And then I'm gonna go with a bit of a dryer brush. And I'm going to define just an innovate that parts right there. And then clean my brush and take it from there underneath the neck combs. And then it will continue. I'm just going to sort of do it like this behind the ear, but we're going to have hair there, but our hair is going to be dark here, so he doesn't matter. So I'm doing it like this so that we can define the neck sort of in a nice diagonal. Okay, I think we're ready to go to our third layer. 7. Hair and 3rd layer Portrait 1: So what I want to do with the hair, I'm just you can design whatever you want. I'm just wanted to play a little bit with unusual colors. Something that you don't think you will use for heritage is just my vermilion read because I'm trying to keep it my color palette to just a few colors. So that even with very little corners, you can create a nice portraits. And I'm just playing with the red, Making nato curls. And then I'm going to leave these area just because that's where I think most of the light hits. I'm just gonna leave it like it is. I'm going to even very light. And I'm gonna continue claim with the red turtleneck. If her hair would be flying. Because of the wind is very wet. Don't be afraid to make splashes because that adds to the playfulness of the ports red. I like that. I just don't want to overdo it. Show honest, keep it around and play with the shapes and the very wet paint. See what you like. And if you say, oops, that's too much, is again, water vapor tau will take away. Then I think I will go back with my yellow ochre. And for the side that I want here, the more abstract hair and just mix it in with a red. That's how you create playfulness. You would do something. Mix, blend, takeaway, play with it. Okay. These same with her. And I wanted to say is hurling should be also kept US like the eyebrow. Not to defined. So the best thing to do is to have some areas where you see that there is a line with a line and then leave the next one without. And then again, just did it a Dutch. And then without, and we're gonna go back later into this. But for now I need you to dry. So now it's time to step back from your portrait and see what you have done, what you like to softer than what you'd like to dark and why you might like to change. And what you would like to give a bit more definition. Here. Normally we have hair because especially if you have wavy hair, like this way below hair, then and sort of playfully comes into the neck area, the ear area as well. So that's the next step. I'm going to play with the darkness of the hair. And this yellow ochre creates very nice light value. And then we combine it here, whether the Amrita for median. And now I'm going to use just over which will be my darkest value. And like I said, around these area, just underneath with our hair. And we're just going to drop some of these to define warned his hair. And how it false. Now that these, these derived or almost dry, I can come back and make beautiful darker shape around this, which sort of defines and it'll beat where my ear is and where the hairline starts at around the ear. This is the reason I don't do too much the year because there's always, especially when you're doing these kinds of long curly hair, you don't see so much of it, but, and due east then I define Leto parts of it so that it looks natural and would just define that in just a tiny bit. Then again, like I said, just go undefined song places of that, the hairline and leave the other ones in a soft. Like here is soft. Here have more definition. Thinking needs to go on a little bit like this. Just taken some water off so that I can be if these would be more definition. And I think this is a nice place to boot. Some darker values. And then I'm going to go back with a red, cuz I don't want it to Brown and makes them interruption often Brown. With us to Kadesh. I think I like this. Now I'm going to go down with the same color and I'm just going to give this part of the foreheads where the forehead meets the hair emphasis. I tank here, the hairline can go a little bit down and he or maybe I use a little bit more of a shadow like that. Just wanted to take out some of these color to make it look more natural. And now I'm going to make it more separation of the air. And where did that case thing. That's enough for now. Ok, with the same color, I'm just gonna go back and define my ID. And that's just to touch that. Which already with the burn number II nationalists. Again, ultra writing with burnt over. And just put it down. Show is where you do your last meeting, Aaron, just define very gently here and there. And I'm just going to add a touch of burned over and answering green soon to it, a parking of my lips. Then teeny my brush and blending. Find it too dark. So I'm just going to clean my brush. Take away. Yes. Here I'm also going to be enough definition underneath. Is he somehow and Jan couldn't miss and define a song, spots and leaving the other ones as they are. And we're gonna do the same here because everything has hair. Again, it applies. Define a little bit, take away, defined takeaway. And I'm going to make that rosy corner again. We too much, but don't despair. And then push it in you so that you have that nice playfulness effect. Lent. And just hear little bit shadow underneath the eye. As you can see, I just Bush made of the same color I have here. And I use it for my middle values. Same here. It's clean the area nato bit. I'll say no. This is a beating the shadow, so I'm just pulling that color in. Do that year. 8. Finishing touches Portrait 1: So I want to go ahead and make my brush wet, make its speed wet. So that when I start throwing corner is going to do that nice blending, which gives a very nice loose effect. So I'm just simply going to start with the Stato. Blue is a very bright color. And you make a flower and just pretend speed effect. Lace, dress that goes up to her neck. And you can see him forming blooms. It's just fun. And then I'm going to draw the standard green. I mean, these come work with any other cars, is going use alter Marines or Vdd ends is just to have some fun mixed editor bit. And again, I'm doing this the same way I did the hair. So very wet. Don't be afraid to make some splashes. And actually I'm even going to take that water leaf my paper and let it thrown in a debate, turned it around. And this plate with the back may seem the callers with the hair. To make it nice and playful. We're gonna drop a little bit more blue with them. And this is a bit too thick, so I'm going to get some of these off. Like that. Again with my paper towels hung. Extra textures. Like many other things, will be more here. This is so neat, is to play with a paper towel and fixture. And it's about experimenting is about having fun. You can drop some salt of some alcohol. See what happens. Just have fun. I find I need a little bit more playfulness in this area between the hair and the NIC. So I'm gonna go ahead and use my red and my burnt all omer, which is what I used to make these corners. And I'm going to play with mixing these two colors more. But again, this just my decision. You can decide that you like it, how it is and you leave it like that. And I'm also going to define it more here because that's normally where the darkest spots are in the hair. Useful underneath and around the NIC. See I lived this, but thus my own aesthetic I wanna pick up again a little bit of my green. Am I blue together? And because this is the back of the neck, thus motion where you have the shadows heated, heating, and just f sentence before and I think almost about everything you use. Just define and leaf some other details to the imagination. And thus the whole idea of creating something with playfulness. I'm going to push these color again and follow the hair as it goes behind the ear. Give it a big more darkness. Pushing that bourgeois up. Blame with us two quarters. And I think that year, now that I see my portraits, I find that the ear, he's still a bit too light because normally the hair goes around it, which makes it darker because to the shadows. And when I defined my hair here little bit, these are just two last details to make sure that you are happy with your portraits. And again, those are my decisions. You can decide to do otherwise. But I'm just going to make these area here just at the much darker because of the shadow that the hair creates around the ear. I think I'm happy with it. So I hope this gives you a good idea of how you can play and how you can make your very own portrait in profile. Next, we're going to do another portrait in profile facing the other way. And I hope you join me. 9. Portrait 2:The Features: For our second portrait, we are going to work with darker skin tones. I have pre-prepared because otherwise a glass becomes a bit too low. I have here the basic skin color, but it beats more golden. So I have to use a bit less for median. More yellow ochre. They see skin color, plush, alternating glue. And this one is scheme corner, bluish, burnt umber. I have also makes a little bit of burnt umber with OWL serene Kunshan for departing off the lips and maybe the very darker values. But we will see about that as we work. And I've made a little vapor here with my corners, how they look. Disease, as you see, this green color is warmer and the xi's how this game corner, ultramarine, Luke's and D.C.'s mice, Qing Kuang or push burnt over. This time we're going to have our portraits facing these way. So the head of hair are going to go on this side. So this is where I'm going to have the most space and we're going to do exactly the same visually divide the paper E3, and make Alito mark where we want to start our foreheads. So I think is something like this. And now I'm going to make that very gentle curve. And then again we're going to measure the distance. So two times down. So this is one, 23. And again, this is all very approximate paper around. And make them marks should be more apparent. So DCS, where are the base of our knows he's going to be stand that there'd be that words like that. We make that gentle see shape and be longer. And then from there we go outwards. I'm gonna make these beautiful rounder knows, so that the space here is soft and gentle. And then we're going to join the base of the nose with this other line. Thank you. Needs to be just a touch rounder here. Something like that. For now I'm going to leave it alone. I'm just going to take out. The lines I don't need. I think these feels good, so I'm going to leave it alone for now. I'm gonna go back here and where I end, that's the forehead. And there I'm going to leave a little space and create my eyebrow. Show. Going up and down again, something like that. One a bit more space in between because I can always add. So from there I'm going to go in a diagonal down. Remember, diagonally. And make the top part going downwards like that into the face. And I'm going to sort of continue these diagonal but Leto bits more inwards. And that's what the Irish over r I is going to be. Then I'm going to leave a bit of space here and these goes slightly outwards and still underneath of our eye. And that line I'm going to extend in words, joining the top of my islet in a sort of triangular shape. And then he are shown where we have our eyelashes. So for now, this is as much as I need of the IOC and defined here also the top of the eyelid. And but the forehead H naught finished, we go slightly upwards and downwards. And that is more or less where our hairline is going to start. So now that I have my I can decide where the wing of my nose is and that is more or less always align with the ice also were here. Just make a little mark. And from there I can define the nostril just enough. I have a general idea of where he's going to be. That then gives me the opportunity to redefine my nose. I'm going to make that C-shaped going in and out again and again to create the open data. And I'm going to continue this line to about where to INs. And thus the pardon of our lips. Far less is not exact. But just for now he's good. And then from there it goes out again to form our lower lip, in and out again. Out. And then I go slightly in. And I know my point is here, but I feel like I need a little bit more space to round out my chin. So I'm just gonna take it's be drowned. And again to where my team is going to meet the neck or the neck area. And this point is a good idea to look at our portrait CSR proportions feel and don't make any necessary changes. Okay, then I'm gonna measure to find the IRR and I'm gonna make sure sort of where here my iris is and where my eyebrow ends. And again, this is approximate. You would then have to look at it and see how it feels. So this is more or less my measurement and I'm gonna go once and from there, once more, twice. So something like this. These points should be aligned with your eyebrow. So I think it needs to be a bit lower, like right there. And that boy, we just measured is sort of like where that year Congo inwards to connect with a face so that these night the highest point of the year right there. And then we're going to make a curve going down like that and sort of like the top of the oval. And then we're at the base of my nose is I'm going to measure and put another mark. And it should go down in a diagonal, I should know go downstream but inner diagonal, so like that. And then I'm just going to suggest the ear lobe. And this is where the 0s are sort of extends into the head. But for now I would leave it like this. From here. I'm going to go slightly in torch again, show diagonal, diagonal, slightly going down to where more or less my lip area is. So this is OK. And I have done this line here for where my team goes into the neck area. I find it a bit too dark. So I want you to be working lighter or the moments, but is good for you to see. So keep it wet because you might have to play with this jaw line at IDO bit. So that's why I say just keep it lie. Because these trial a bit of trial and error mostly a works. This feels good to me. So do just join this line with the wind u hot. Pull down from the ear lobe. Now going to drop a bit more color so that you can see it. And again, you're going to have a shadow here or underneath, so it doesn't matter. 10. The Head and Neck Portrait 2: So now we have our features and I want to extend the foreheads to create an indication with a circle where the top of our head is and how it goes gently behind our ear. And then from there we sort of decide where our neck is going to be. So I think it's safe to say that somewhere in-between the ear and the eye area, the neck, the front lines of that Nick is and again, very light because I might change my mind. And somewhere here behind the ear we have the back of the neck. And in this moment it looks weird because she has no hair but not really anything to worry about. And this area is going to be taken out by hair, but it just helps me find that curve of the neck and they should be perpendicular. So to make the hair line, I am going to sort of with this king corner, give a bit of definition to the hairline around the year. From there it goes upwards. And then you have It's going from this point upwards, going inwards, sort of following a, b, the curve of the eyebrow. And again, it is all very gentle and on skin color. From this end of the eyebrow area, more or less, I will go a bit up, up, and maybe diagonally. Not a straight line, but moreover, diagonal line show you have a lead or a bit of the inclination while going upwards and then joining their wine, you have a point on the forehead, join it around sort of gentle curve, and just leave it alone because we might decide later how much of it you see. To now I'm looking at it and I want to make some changes on the nose cuz I wanted to be more rounded, soft. I found that that beats the breach of the nose wasn't being too high. And again, you can just get rid of your old lines by making it wet. And they can the rest of the bands with a paper towel. And this is what I like about this technique because he's allowed about discovering and deciding while you are working aesthetically what you want other moment. So these line is bothering me because he's too dark. So I'm also going to soft in it. And that again gives me also the freedom later to decide with a hair how I want that shake. I'm just going to very gently put a few points of emphasis. And that's it. 11. Second Layer Portrait 2: So I have decided my light comes from this side. And this is our portrait with a darker schemes. So with a lighter skin, we leave the light areas we lived without any color. And for this one, we are going to move the value scale where we start. Our light are delighters. Color that I have mix, which is my skin color with a bit more of yellow ochre in it so that we have these very nice reach. Golden color thus does too much and wanted softer. So we're gonna start this one by the finding, the finding where our lives are. So you don't already have a highlight on the top of your forehead. Just push that same pain that route. I'm not adding anything and I'm just going to spread it around the nose and area. And here on the board the team protrudes, you have the light area and for now I'm just going to spread it a little bit around the Yo. And these might be called a Medium, don't, but for now, I'm just spreading these nice golden color around. And here around the eye and the cheek, where you have that fleshy part of the cheek. You also have a highlight triangle. And on top of the eyebrow is also a highlight. Chow spread my corner around. And now I'm ready for my second layer with my medium domes. So for my medium values, I'm going to take to begin with the same golden quartered. But I'm going to have less water on my brush. And normally here you have some sort of definition of that area between the cheek on the nose, but also between the nose on the cheek. And these space here is a beautiful in-between area. So for now I want to leave it like this. And I'm going to push the same color it underneath the nose just a tiny bit. And I'm gonna think of some pain from there and redefined days. And shaped by your cheek makes that same corner I'm going to push to the mouth. And these will be the shadow that the leap creates. Again, very gentle and joining together. Here on the cheek. And a bit to joy. And here as well. And I'm going to pull it also here. So now when I drop my darker values and I'm going to use my second color, which was that skin color preparation of mate with ultra R3. And the darkest places are of course, the ones on the side of the head away from the light. And we have on the cheek, don't worry about this. We will come back and soft in it. And we have a needle video in the temples. And Leto bits around the hairline, not making one continuous line just a little bit here and there. Something like that. And I'm gonna take the eyelids as well. And there's always a bit of shadow here that the eyebrow makes your eyes here underneath the notion bits. Then you will start to aid in your different planes. And I will take up from year who's done these closer to the light, even though it's in the shadow from the nose. And I'll just send it to my upper lip. Still we have not even gotten into the lip corner, but then at least our value is already there. And the shadow of the leap over the chin underneath line two. And now this is looking pretty harsh. So I'm going to reset and start blending. So as you can see, I have a very smooth wash all over the face with three different colors. Which I really like because stat attach to the richness. And now we're gonna go into our darkest values. And then we're going to play and join all this together. 12. The Hair and Third Layer Portrait 2: My darkish values are, of course, the eyelashes and the Irish. Because SHE, especially on profile, the Irish is in shadows or you'll actually see the color over. So even somebody with light, I color, it won't show. And I advise you not to do it because it looks very weird. And the eyelashes, Of course, here underneath the eye and the Haven't beautifully shadow here, which is somewhere in between. And we have the nostril, the parting of the leaves, and then we will redefine here. I will talk about the yr in a bit more detail down our previews. Portrait. So let's start with Scheme clues poured, burnt, umber. So I'm just going to define the noise true than Australia at the moment because I think I am reading lacking that definition. So there is my nostril. And of course he or underneath the wing of the nodes, there's also more shadow. So I'll just extend that the darker value into around the notion and that same corner I'm going to use for now for the eyelashes. When I do the hair, I'll come back to it. But for now, it's just nice to use be more definition or add lashes. Like that is, you know. And I late. And then again are these moment because I'm making more lines using less water to more pigment. We wanna put some on the eyebrow. And when I do the hair again, just like with the eyelashes, will read and will add more color to the eyebrows. Well, but having these older tone makes it richer. And I'm going to spend the shadow from here into the I8. I want to do with the Irish as well. And here in the corner I'll die in here underneath. Parking off the lips, putting in a year and leaving some space and Playing with it, stand in it and softening. Okay, now I want to talk about the ear because E, my previous one, i didn't go so much into it. And I think as important, although most of the times your hair is going to be around, I don't want you to have any limitations if you decide to do so. My day with a very short hair, where to erase showing. I want you to know how to do that. And the theme with IR, each of course you don't want it harsh and you want to just show and defining a few lines here and they're leaving the rest through the imagination. So with a few shapes, you can make it feel very quickly like in here. So I'm going to try to keep it sort of standard. So like that, we have made it. And then you have here another curve that follows the one in the outside. This is called the headaches of the yr. This overhear you have like any, it'll triangle of darker value. So for now just enough. So you have a little bit meat way. You have the needle sort of piece of cartilage that make sort of these shape. And if you were to extend this around, we're gonna make it a bit lighter. It would sort of join with it, but I'm just going to suggested like that. And the top part of the helix sort of goals is joined into the, into our face. Ok, so this is that little white area. And then we have the concerto, which I always think looks at it hasn't been of a shell like shape. And that is going to sort of be around these light needle area that put true protrudes into the ear from the face. And thus it here's a bit of a darker spot and that's where that hole to erase going into the ear canal. So we have here, there's also a little bit of shadow. And here we have a data reader shadow. Here these extends sort of just are both of where the ear lobe starts. And we have here is full, so move these paint around it and that automatically defines your ear dope, which is lighter than the rest of the year. We're going to have more shadow here because the back of the neck is darker. So I just went ahead and pulled from the same color I was using, downing domain neck. And that's all you need to know. And now we're gonna move into the hair and have some fun. So four-day hair I'm gonna mix. So very Lane Green. With some for medium red. So here I'm dropping so vermilion and some very a reddish steel. So more buried a does it, I think it's a nice it's a nice neutral color with a very wet brush. I'm just going to play with the hair. Take out these what's going into my ear. I'm going to switch to my yellow ochre is just yellow ochre, nothing else. Maybe a little bit of the parody Lane that was over. And just with water, I'm gonna push it around. So he's only yellow ochre and a little bit off the very lean mixture, neutral color, a handmade. And now I'm just dropping more water and they came more of my yellow ochre. Shorter following that hairline I have made, which I think for when he goes in here database. Keep on pushing, having fun, spreading water now, actually specialty that del pi one to keep night and see if you want to add or subtract. And you're I'm just pushing water and whatever pigment I have on the brush or that gets on the brush from the paper is soft in any year needle. That's going more in. So I've sort of lost that hairline, no sort of curve. And I'm going to take some amber and drops on color here just for definition. And we go out upwards with it like that. And as you can see, so very wet. And of course still wet, so I'm wanna leave it for now. And then I would come back and redefine these for now. I'm just going to soft in it so that I can give it afterwards more definition. And my ear has suffered. So I'm just going to pick up that baby. And I will we find it again. Before now that other paint I needed one there is gone. And these, I'm just going to solve them. Drop pigment so often and clean up. 13. Finishing Touches Portrait 2: Prepare burnt omega with all serine grandson. Ford ellipse, leaps. Half a beautiful rose here. Don't do it. And that is just a burnt umber with the ulcerated. So I'm gonna start by defining my upper lip, which is that dark is one of the two. Then I go back, pick up more pigment and redefine that bargain off the lips and extending and beat up boards. And we're going to take out some of these pain to be my upper lip. Beautiful softness. And at the same time, just defining more YT sleep and why they scheme. And I'm going to take out some extra bang the Huldah year, which I don't eat. And then I went to pull that corner down for my nowhere deep. Just a bit of color. And darker here underneath. Maybe here where there's the joining of the two leaps. And yes, played between these shadows. And I'm going back to my Omer. Without Alice ranges the owner with his king quarter goes up again on the skin and just gave that shadow big more, 2v and softer. So as you can see at the moment, I'm just refining to make the shapes more in a way I want them into the labor. I wanted to give. Chin area on the lower lip Touch of Color. Then I'm gonna drop in this area where you have the darker spots on your cheeks. Just now making it slightly wet. And I'm going to draw that burnt umber with it all serine. Because there's a nice rosy shaped her reach. And blend where you have your medium dog out and blended into the eye area very gently. And now I'm just going to take that aisle showing just because I liked the ocean is over it. And I'm going to draw just a touch more where the darkest areas on the cheek art which are around the hair line going down. The finding that cheekbone. And I'm gonna dry my brush just tiny beads and sort of blend. And here I'm gonna do this shame to make that hair line, like I mentioned earlier more playful. Unless define. And maybe just touch here. And this area here, I want to get back that lightness that is part of my first layer of light. And now just with my brush and water, if your water has got them dirty, Just go ahead. Change it for clean water so that you can pull out those highlights that will give you face that definition. These, I want to take out and brighten up this area here. And going back into the, I mean you don't. And the wing of the notion. I'm using the ultramarine with skin quarter. So now they're darker value, which I'm going to gently spread around and create metal structure for the nos. And underneath I, again, going back with that quarter on ultramarine. So make sure this area stays soft because you have a lot of medium tones in-between. And the way you create that is by blending your color also with previews, layers that you had dropped. So now also going to add some shadowing here underneath the neck, underneath the jaw line. And between the hair on the back of the neck. Again with my ultramarine AMS King quarter. Just like that. Look to march definition. And I'm going to go back to my ear. Just because I assumed white. I have not put any paint on it. So let me retrace my steps. I'm just dropping quickie and then pushing that color down into the leg which had also not done. This is just my skin color, my basic the one I used for my highlights and blend. And again, you know the worry about it because digits only going to add an extra layer of richness here in this area cause I'm automatically making a little warmer spot right there. And that's what I mean with creating free experimenting. You know, you might get these nice or effects that you would otherwise not have gotten it. So again, you know, I dropped it and I blend it. And I have now two different values here which are very nice. I'm gonna wait for this to dry, just, you know, so that I can work on it. I'm going to go back with my neutral color that I had created and go back into the eye and define my eyelashes. So this is the same mandrel corner I had dropped. Own their hair on this high nationalists supporting the corner down into the Irish. For an eyebrows the same. And now I'm what I'm blend these together with a Ayelet to make it softer, landing to colors, then now TO this king with the burnt owner. And that same color. The dark and part of the nostril. Okay. I'm going to soft and also you underneath just by adding That's King corner with the Omar am blend and end with a nail geocoder. I had darkening these corners so that he's not too light. I think I'm pretty happy with it. I know I'm going to go back to the ear. So I just drop some donor with a skin right there. Just drove some of that burned over with altering the ear is B the redder and just pull out those shadows. If you lost them, maybe you didn't. I just did when I did my hair because I like to make it very wet so that I can play with the shape. Again, I'll Shereen with the burnt umber. And then when I make sandwiches, some of that scheme quarter when the bird number right there. Okay. There we go and use with a burnt umber and scheme called Argus tool. And the fine. And now I'm going to define the ear lobe by dropping shadows around it and extending. Now I'm blending is standing here behind the neck here to a finding. My neck just to separate it lightly. And I'm going to make here the second layer with some of the nail underneath. And I'm going to mix it with my own paper. Just goes that is warmer. Here's where your hair is done the darkest. And just to give it some definition, I loved the bloom that I got here and I read it, I, this edge. So I'm going to leave it on, on. And what I'm going to do know is this. By adding a beat, burned Homer? And just to say, before I didn't neck starts. The hair sort of false or lids. So I'm mixing both callers thumbnail CHO on that scheme is to give it that softness. And behind a Uranus and nato space where you have no hair. So I just leave it like that. And I'm going to blend the neutral and this keen corner to suggest that hair around the ear. That's all. Think I'm happy with that. So I'm going to play with some elements around the neck just to give the board threads. So I'm corner variation besides King, quarter m, the nail trough, the air. So just extend that these line I have here from my neck. And that's enough. 14. Some Fun Elements portrait 2: What I'm gonna do is a little bit of leftover of purple, but the purple odd mate with my ushering him and my ultramarine blue. So what I'm going to do, what I normally like to do ways to sort of play with a beat organic like shapes. But you can do whatever you like. And I'm going to drop data, ret on that, make sure I have made to make a bit more of my agenda, like purple. And just push the corner around. Him were ultramarine, serene. And just drop some yellow ochre for warmth. To mouse ring. Few kernels. Yellow ocher. Or if you have a brighter yellow you like to use. That's also but again, just keeping my palate limited. Why is dry? I see that a half steel beam off my scheme corner here. That's going to clean it up fish by reweighting it. And you see, again favorite towel. Just taking a little bit off. It doesn't bother me actually. Then you see some sort of shadow. I mean, you can keep on doing it if you really wanted out, but I sort of like that. But this is enough definition for me. I like it like that. And I think we are ready. We are portrait. 15. Thank you! Skillshare 2: And with relations, you have made it to the end of the class. Today we have learned how to make a portrait in profile in a loose manner, as well as working with different skin tones. I hope you feel ready to keep on experimenting and letting go and just enjoying the possibilities. If you have any questions, make sure you ask them on the Discussion tab on this class. I will be very happy to answer any doubts that you may have. Please feel free to leave a review. I read every single one of them. Actually, one of the reasons I created two examples with portraits for this class was that that was the number one improvement points mentioned by students who left a review or my previous class. I did only read the reviews, but I also listen to any points of concern or things that they students find that I can improve. So for that, thank you. If you enjoy this class and would like to be kept in form whenever I post new ones. Follow me. I think there is a follow button on the top of the screen or otherwise on there my profile. I hope you found this class helpful and that you keep experimenting and making many, many other portraits in the future using this technique. Once again, thank you for taking the time to learn together with me. And please don't forget to share your projects. They really made my day. I hope to see you on my next class.