How To Airbrush Black / White Portraits | Steve Nunez | Skillshare

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How To Airbrush Black / White Portraits

teacher avatar Steve Nunez, Professional Airbrush Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (1h 39m)
    • 1. Introduction

      7:47
    • 2. What's Needed

      4:13
    • 3. Reference Study

      4:18
    • 4. Surface & Preparation

      2:11
    • 5. Toning the Canvas

      2:16
    • 6. Painting Highlights

      12:51
    • 7. Light Shading

      25:07
    • 8. Dark Shading

      36:59
    • 9. Final Words

      3:21
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About This Class

"How To Airbrush Black / White" Portraits" is an 'easy to follow' tutorial to creating an intermediate level black & white portrait using an airbrush. The video tutorial covers the complete creation of a painting based on a supplied reference image (used with permission.) The tutorial covers the complete process for creating the painting and covers; materials needed, reference study, surface & preparation, toning the canvas, painting highlights and shadows and reveals tips and tricks throughout the process. The tutorial was created to allow viewers an easy to follow approach to the creation of the painting and reveals the techniques used to complete the painting. Because this painting is in black & white only minimal materials are needed and allows just about anyone to successfully create this painting.
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The lesson is created by Steve Nuñez a professional airbrush artist with over 30 years of experience. Steve's work has appeared in various TV shows, books, magazines as well as winning several art awards, museum showcases and gallery exhibitions.

Steve Nuñez will be posting a complete series of airbrushed projects revealing all his techniques which include; "Airbrushing Full-Color Portraits", "Classic Black/White Airbrushed Portraits", "Creating Airbrushed Wildlife Art", "Motorsports Artwork with the Airbrush", "Stylized Airbrushing" and various custom paint projects. The aim of the series is to help airbrush artists achieve the results they're looking to achieve in the shortest amount of time: leaving more time to create than learn through trial and error.

If you're new to Skillshare, please consider signing up using this link and receive 2 free months of Skillshare Premium: 2 Free Months of Skillshare Premium. (Using this link supports my account.)

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Meet Your Teacher

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Steve Nunez

Professional Airbrush Artist

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Hello, I'm Steve.

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Transcripts

1. Introduction: This is an airbrush, and if you know how to use one, you can create incredible pieces of art. - As you can see, the airbrush is a very versatile tool. It allows you to paint on a multitude of services. In this tutorial, I'll show you how to paint a black of my portrait from start to finish. So let's jump right in. Welcome to airbrushing. A portrait in black and white. My name is Steve Nunez, and I'm a professional. Amber started and I'll be your instructor for this class. So what will you learn in this class? We're going to start with a black and white portrait because you want to eliminate the complexity of color, and I will post a full color portraiture class. But for this class is just gonna be black and white. So are asleep to go through the class. That's gonna be some things that were in need of some steps. So the first things will be our materials list, and that's basically the items that we're gonna need to complete the class and go through it. So by that I just mean like the paint selection we're going to use in the air burst that we're going to use the next step, that we would take it. We're going to study the reference image. Obviously you want identify any areas that might be a complex or cause some challenges. So we'll dissect the image and study the reference image. It's a step I always do before I just go on and paint. And the next thing is, of course, our surface and prep for the demo that I'm gonna show you. I'll do it on canvas, but you can use a canvas panel on illustration board, and I'll show you quickly, hotter. Prep it and get it ready for painting. And the next thing is, why do I tone a canvas now? Let me explain the concept of toning. It's a very simple thing if you're gonna paint cameras. A lot of people think that you would paint, you know, start with a white canvas, and the reason why we don't want to do that is that there's usually a predominant color in the painting. So in this particular painting that I'm going to show you this reference image has an overall gray scale, and that great tone that's on the Caymans we're gonna find a light of shades and paint the entire canvas of that cup. The reason is, is now you've you've eliminated a lot of spraying and you've already laid a nice base coat down, and it makes the campus go by very quickly. Then you just have to paint things that are darker on a few things that are lighter and you'll see why it makes sense as we go through the crowd. So then the next step is How do you draw about reference? Image onto canvas? Well, if you're taking this class, I assume that you're interested in order that you can draw, and if you can, that's a great thing. Now, if you can't, you can still take this class. There are a lot of techniques that we can use to draw a reference image onto the campus you can print and then trace if you have a projector, even a home projectors for movies, you can put a still image on that and use a projector. You could do a simple tracing, so there's a lot of techniques that you could use your music grid. In my first video introduction to airbrushing, I go through the non artist draw techniques you can use. You might want to take a look at that video for those steps. And then, obviously the next step is Why do I paint highlights first? So when we toned the canvas way, typically, wanna work like two dark? And by that I mean, you don't eat the dark areas and then go over your light areas. You paint the light areas person, you build color. A lot of artists work that way. That's the way I work. And it seems to work really well for me. And that's the technique I'm gonna show you. And then we're gonna go through some final details. You can use a paintbrush if you'd like to do, like, maybe small eyelashes. If you feel pretty good in your detail with airbrushing, then you can actually do those details with an airbrush. I sort of mix both just to change it up, but you can actually use either technique. If you want to do your fine details with the paintbrush, you're welcome to do that. If you want to try airbrushing it. That's another way we can go at the at the end of the day. You just want to produce a beautiful painting. So those are the major steps that we're gonna take at the end. You're going to sign it, you're going to seal it. And after you sign your cameras, put a gloss or matte that's up to you. And then throughout it, I'm gonna reveal some tips and tricks that you can use in some optional materials by tips and tricks. I use a technique that I sort of develop myself, and it's where I paint upside down. Now, you might say, Why would you want to do that? The reason why I paint upside down sometimes because when you look at it someone's eyes, nose and a mouth, you're very familiar with it. And you already know, like a lip is shaped certainly, so you tend to paint those things without even looking at your reference image. In that way. Now you paint upside down disconnect, because now the image looks a little foreign to you, and it's unconventional, so you start to look at the small details that you actually missed while it was right side up. Now I find out what I what I typically try to do is, I paint as much off the painting in a in a standard, you know, right side up position. And then when I'm near the end, I flip it upside down. And then I looked for areas that maybe were a little different. And then it allows you to be a little bit more faithful and more accurate to the actual painting. Your copy. So I find it. That works really well. It works well for me, and I'll show you that technique and hopefully you'll find it interesting. And maybe you will adopt it in your own paint projects. And finally, there's optional materials, for instance, to a lot of artists used erasers and blades with a scrape stuff off. And that actually is a very good technique for fine detail and highlights in hair and and in other areas. So I'll show you that so that you can adopt it and you may not want to use it. You may want to use it. I think it's always good to try it and see how it works for you. And then you decide what you want to adopt that into your into your work, for when you create your paintings. So those are the steps that we're going to use to create this painting. I think it's gonna be fantastic. We're actually going to produce it from start to finish. And I highly encourage you to take this class and go to all the steps with me. And I can't wait to see what your end result this. So come along and join in this class. 2. What's Needed: welcome to the material section on these of the materials we're gonna need to complete our painting. So, like I said, I'm gonna do it on a canvas. But you guys could do it on the campus panel, or, if you have cameras, is at home, that's fine. If you have illustration board, you can also use that. But the techniques I'm going to show you relate directly to canvass. They will work on an illustration or but it may look a little different. So this is a canvas panel, and it's basically a canvas on a hard piece of cardboard, and they're very inexpensive. They're wrapped in plastic, and they come in different shapes and sizes. The one I'm gonna do is a 16 by 20. So if you guys want to stick to about that size, that be good. If you want to make it a little bit smaller, that's fine. A little bit bigger. I wouldn't go too much bigger or too much smaller because the dynamics change when they're really large or really small. So you know, roughly 16 by 20 give or take. That's a good size to start with, so you'll need your campus panel. Now the next thing you're gonna need is your paint. So there are many types of pain on the market and some are specifically made for airbrushing, and some are not the ones I prefer. And I think it's you'll get. The best results is if you use airbrush specific pain, and by that I mean like, this is my favorite pain. That school create tax, and this is made by a company called Create Six Colors and they're formulated for airbrushing, which means that when you airbrush it, they don't typically clog inside the airport, and they sprayed very smooth. They make a couple of different lines of pain, and older paint is made for airbrushing, so you can't go wrong if you go with, like to create text line or any other airbrushed specific line. Now you might find these kind of pains in a store. These are very, very common. These air just jarred or liquid acrylics. These will also work very well. This is black and white, and this is all you really need. These small jars are enough to do a few paintings, so you might want to pick up some black and white and these are formulated for an airbrush . There are other brands, this one. I think this one is but Dr pH mornings. But there's another one called F W. They make some, and I'm sure there are other brands that make liquid acrylic, so as long as they're formulated for airbrushing, you should have no problem. Now you might run across like crafts paint like this, and these are very inexpensive. And, you might wonder, Can you use it well? They are an acrylic paint, but it's a lower quality. There's not as much pigment in it, and it will float through the air bush, but they're kind of gritty because it's not. Grind it down very fine, like like these airborne paints are so you could use it. If you have no other paint, you can use it, but you have to buy something called airbrush medium. Now, if you buy this, this helps thin it out, and it helps improves the flow off the paint. So it's a floating hoover for this pain. So if you get crafts acrylics, make sure that you get airborne medium so that it improves the flow of these pains, and you can use it to paint your canvas. This is the least desirable set up that you would want because they're not specifically formulated for paint, and another option is using the tube paint. These are very common. If you have this kind of pain, it's the same thing like this. You can send this out with water, and then you some airbrush medium to improve the flow. It's again, not as good as using airbrush specific paint, but it will work your biggest challenge with these non at birth painters. When you're gonna do fine detail, they just don't spray. It's crying and hold the fine line. So that's why I recommend using airbrush specific pain. So that's all you're gonna need. But even not your canvas. Your paints. You're gonna, of course, need your airbrush and a regular pencil to draw the image on, and that's it. That's why you're gonna meet. And if you're gonna were gonna paint the canvas one color, so I recommend just get any brush that you can any kind of paint brush off phone brush. Phone brushes are very inexpensive. You contain them and use them over and over, and that's what I typically use because it leaves a really nice even coat without leaving brush marks. So get a phone brush and that's it. We're pretty much ready to begin our painting. 3. Reference Study: before I begin actually painting. I normally take time to study the reference image, and by that I mean I go through the image and try to identify any areas that might be challenging to paint. So let's do that together, and I'll show you the process that I use to go over an image before I paint it. This image can be broken down into three major areas way. Have the hair way, have details we have shading. Let's break them apart and see how it would approach painting this particular image. Let's take a look at the shading and see how we could develop this painting. You could see most of the heavy shading is under the chin and just around the shoulder area there's some shading in the backside and around the detailed areas, like the nose and the eyes. This is exactly why we want to start with. The great toned camera says that that great tone has already been established and you don't have to shade it in. You're just gonna add some shading on top of the great to build it up. You're also gonna add slight areas of light highlights so that we can bring that out. So this is exactly why we start with this great campus. This is very straightforward and shouldn't pose a problem for us. Now, moving on to the details, we can see that we have the eyes nose, the mouth and the hands. This is where your close proximity airbrushing is in the comment to play with enough to get really close and use detailed black to get those thick eyebrows and eyelashes around the eyes. Done. We're also gonna do the pupil and the round circuit A part of the eyes. Well, now another. Everywhere you're gonna have to use Jet black is around the teeth. You can see the shadow areas of very, very dark. Then we're gonna move on toe a very light gray and do the hands and do some shading. And around the mouth and around the nose, the lips will require, like a medium grey. We don't use black in the lives. We can use that comedian great into all the details. We're gonna add some highlights to the lips, and basically that will be done. So this might be challenging for some, but I think you're gonna find it rewarding once you do it, moving on to the here, we have to make sure that we get this just right. The hair is basically a black mass with some great striations. And getting those great striations in the right place with the right amount of atonality is the key to making this look right. So I'll show you a couple of different ways we could go about doing it. This is the area that might pose the greatest difficulty to some students, while others may find it easy. There's a lot of experimentation that you could do to get these results. So try a few different techniques. I'll show you how I go about doing it and then seem toe looks best feet. But the hair is actually gonna be fun. And once you master it, this'll becomes the easy part of the painting there to other areas of this reference teams that we're gonna have to take No. One is that partially obstructed. I When you blow up the reference image, you can clearly see that there's detail in there. We're gonna have to make sure that we paint that we don't want to make that one solid black Mass. We do want to paint it the tones that are in there in this particular cropping. Her right arm is cut off at this point, but depending on your canvas with. If your camera shows more of this painting that you can just extend that angle all the way down and create the rest of a wrong, it shouldn't be very difficult. You just create the toning and continuing as you see it. I recommend you take some time and really study the painting. Look at all the nuances in her lips and the folds. Look at her eyes and the way the extra skin folds around it. If you study this stuff once you start painting it, you're going to realize that this is something you have to paint and you're gonna be faithful to it. You'll also carry on this tradition with future projects that you do, and you'll see that studying the painting is really important before you actually begin painting. Hopefully, this reference study has given you some insight until what I look for my study of painting . Hopefully, you'll adopt the same techniques and study your reference images before you begin. Now, with this having been done, we can move on to painting our image 4. Surface & Preparation: now we're gonna prepare our canvas. Typically, our cameras is called a ground or a support, because it's going to support the art we do on it. And sometimes the campus is not very smooth Now. This applies to campuses and canvas panels. Remember, it is a fabric campuses. It is a textured fabric. So when you rub your hands over it, sometimes it's not so soon. Not typically, when you buy campuses and cameras panels, they're already Jessel or primed, and that means they're ready to accept pain. So the only thing we're really gonna do is actually feel the cameras. And if it feels a little rougher, there's rough spots. Then you should stand it down lately, so I don't mean, like sanding down very heavily. I mean, get something like a sanding block something like this, and you lightly go across the surface until it feels very smooth. You're not trying to get it like glass, just trying to get a very smooth surface. Eventually, we're gonna prime and tone or canvas with some pain on top, and that's going to smooth it even further. But your first application of Pete, you want to make sure that your cameras is smooth, so that's what we're gonna do. We're gonna sand our cameras to knock out the edges. So now that I have my cameras very smooth, this is ready to airbrush. It's a very simple process. It should only take you a minute or two. And if you did by a canvas that's on primed, what raw? You're gonna need something called Jessel, which is basically like a white paint that has a lot of chalk in it. And what it does is it fills the valleys and the texture inside the fabric so that it evens it out and it seals it so that you can paint on top of it. Normally, the cameras panels do come already primed, but sometimes there are sold on primed. If that's what you have, you have to go through the step of painting it with the Jessel, waiting for it to dry, sanding it and doing it a few times to you get a smooth surface. Once you achieve your smooth surface, the campus is ready to paint, and we can move on to our next step. Just painting the cameras 5. Toning the Canvas: So when we studied our reference picture, we identified a light gray. That's the great that we're gonna paint this entire painting again. We're gonna painted that color so that over gonna do is add a little shading with some black, and then we'll add highlight with some lighter colors to establish the tones very quickly. This is a lot faster than painting it white or starting with the white canvas. So I'm gonna take some white paint, which I have here, and I'm gonna mix it with a little bit of black. You could use whatever you have available and make it that lights on. Just just identify that tone and make it that lightest tones. So it should just look like a slightly darker white like a very light gray. So that's what we're gonna do here. Okay, so now what I'm gonna do is I'm gonna take my white paint, pour some of it into this, a little jar thinking I made It's just a bottom of a Pepsi bottle cut out. It's just a small amount of white, and I'm gonna take a little bit of black. I'm just gonna make that light tomb that's just a tiny amount and all I want to make is just a super light gray. I have my very light gray already mixed up. You should have a similar color, just a very light grade. It should almost a pure life. But it should be great. You should see that. It's it's a very light right. And we're gonna peak entire cameras, this color. Okay, so I put my first coat of grey on on the canvas. Now what? You might notice that you might see some streaks. That's OK, because you're gonna do this a few times. But what I recommend you do is as you're painting it painted across the widest section, let it dry, and then go across the other way. This when you're filling in all gas. You can also take your standing rock and sand in between these code so that it's really soon. That's all you have to do until we get a very uniform. Great. So I'll continue until we have that solid gray color 6. Painting Highlights: way. Okay, so I have a reference image of drawing out. It's not super detailed, but it's enough where I could make it out. And here is the reference. I'm gonna paint it from a phone. You could do a print, but I'm just using a phone. So I don't have toe print on paper and a benefit of using a phone or tablet you can pinch and sort of make it large if you want to see detail. So that's, uh, that's a new thing that a lot of people are doing. They're doing tablets instead of using a reference. Just put your your picture onto your phone. So because I'm starting with the great tone cameras like I instructed, what I'm gonna do is I'm gonna take some white. Just get whatever what you have in this case. I mean, you Spectra Texas by badger. It's a fabric paint. It's perfect for canvas, and I'm gonna paint the background. I'm just gonna paint the background. I'm gonna use something like this, uh, like a French curve. You could sort of just use it as a mask and spread, or you can free hand that it's not really that critical which way you decide to go. So I'm going to spray this white and that will establish our background. The reason why you want to paint the background first is because the small hairs will go over it. So if you try to paint the hairs and everything and then do the background last, then you're gonna have to, like, try to get him in between. It's just not gonna work very well. So you're better off spring at White and then taking the small hairs and going over it. So that's what we'll do. First camera should look something like this when you begin. Just make this pretty bright white, and then you could begin on the foreground. But you always do the background first. Okay, so now we're gonna do is we're gonna identify these lightest shades. So I have a lot of white in this care. It's very light. It's not really bright white. It's never pure white, a light right here. And then there's a lighter value here. There's someone to hear. So identify these areas that are lighter and take a very watery white, not make sure that it's not very like stark. It should be very watery. And the reason why is you just want to spray a light tone. You want to replicate that tomb so she has sort of, ah, bright spot here and that's what I'm going to paint here. And then there's, like, an overall brightness here. So in this portion of the painting, I'm gonna paint like this sort of this overall brightness and faded down just like I see in the photo Here in the fold, she had slightly brighter. And then it comes up. So you're gonna replicate Allow these tones that you see if you have to take a few passes to do it. It's OK, you can see right here, right with the hair is that this is a slight, brighter areas. Well, use different parts of the painting of the reference to show you where you're at. So the hair hits right here and it's almost forms an arrow where this is that so used these like cues as faras location so that your accuracy is there when you're when you're building the painting under her nose, she has some bright areas of reflection. So you want to make sure you get those in there. Now, up here in the top of her eyebrow, she also has sort of like a highlight area. Make sure you get that and you feed it up just like it is in the photo. You also want to get inside our eyes. Now, the trick to doing eyes is that they're never really pure white. If you did something with pure white eyes, funny will look a little funny. You just want to make it bright with the tones that are shown in the photo. So be very mindful that they're not actually white. Follow any areas like you could see. There's almost like a little line here like a squiggle. That's what we want to replicate, so I'll go ahead and build it up. You do the same, find all areas of white and tone it in. I'm gonna continue doing this theme you want to treat, keep the same way you do it eyes. They're never really pure white. If you look inside, there is shading going on. But because it's a black and white painting, we're starting with the great ground. You can paint in white and put it in lightly, and you are gonna end up shading. Start dissecting the photo like I see right here with the eyes are at. If there's small little white highlights you're gonna paint, allow that in under the eyes You're gonna see white folds but just indicates a reflection of the light. Paint them in. - Now , if you notice when you look at the chin there, so they're shade there and then there's a bit like it goes above it. You want to copy that same shape and make sure you replicated BIA's faithful as you can to this picture. Here's where the painting is. I'm gonna continue to work on it. You continue to work on yours until you've replicated everything you see and what you want to do is you want to think of it as painting the entire portrait with just a life. Imagine if someone said you only have white paint pain as much as you can. This is exactly what you want to do. You could establish a light areas with the intensity of the white that goes a long way in creating the painting. As you keep on adding white, your painting will start to build up if you notice it's already starting tohave the resemblance of someone without any other color. There's just a great base and the highlights, and this is why we paint this way because now the great is already in there. Once we start shading, you're gonna see it comes to life very quickly, so continue to build it until it's really bright. And it matches what your reference images. If you see this reference basis, it's fairly bright, so I'm gonna continue building it. Once you get to that image, then we'll go on to shape. All right, so after while you're painting should look something like that. Now what you'll know is that as you paint sometimes, when you spray, it looks whiter than it is. And then in time started fades. That's normal, because when you first spray the paint is wet and within a few seconds or a minute, it's already dr sort of changes, so you may have to go over your areas over and over and over to get the white that you're looking for. Once you build it to this general appearance and the painting already starts to look like a person, then you know you're on the right track. So the next step is to start doing the lightest grays that you can. So before we move on, make sure that you get inside the eyes. You a little highlight? You're gonna end up doing it again after you put all the great because some of it goes over and it dies a little bit and you want to put those final details in, But make sure that you get as much as you can see the painting builds itself. So now we're approaching the very ending of this highlight session. And once we get all the highlights down, you're ready to begin shading. So congratulations on getting to this point having where your highlights done way can now begin shading. 7. Light Shading: Okay, so at this point, the white is pretty much done. I can always add a little bit, and so can you, to breaking up areas that you didn't get as white as you like. And, plus, remember, we're not trying to do what we're just trying to do. Highlights. So you want to lighten it up now? The next step is to start shading, and I think the best way to approach it is if you look at the reference picture, there's a greatest, slightly darker than the base gray, and it's this great here, so mixed this lightest gray. So just take black might take mainly white and add a little bit of black to it, just a tiny bit and make it darker than the base color that you have. If you can get this light shade of gray and you mix it, that's that's perfect. Make it sort of thing. You don't want to think it should be somewhat watery. Put that in your airbrush, and that's what we're gonna use to start shading. So what I'll do here is I'll start building in the basic shapes and shading a little bit just to start developing the picture, and you can do the same. What you can do to help you sort of gauge where everything should be because you have your pencils lines down. What? You goons? Where you see here, you can start just putting a few indications of hair. It'll just help you see where your hair is that this is not gonna be your final way that you paint the hair. But you're gonna put the indications on it, Theo. What that does is it helps me make thes shapes that I'm tryingto create this shape. So by painting the hair friends and I can start it, I can see I can develop where my shape should be. - Continue to work your picture and add shading all around it until it starts looking like your reference. Because this is a shadow, it's sort of fade. So you want to make sure that you observed things like that where the shadows starts dark here as it goes towards the back, it fades. So keep in mind little things like that you don't want to just make it solid, dark or black. Continue to build a pure tones until you've finished in. You have toe point where you feel relaxed. You can also just do it up to a point where if you're feeling like you're not achieving the results that you want shade very, very subtly and build up and then sometimes sit back and relax. Look back at it, see where where your accuracy or is off, and then try again because the shoulder is a very sharp edge. It's one of the sharpest you have this, Then you have this you can use, like a French curve or something if you have it to make the edge. If you can, you can actually free hand it. So you're gonna get a sharper line. If you use, you know, hard edge object. You can cut something at home, but because we wanna coverage you to do freehand and that's the whole point of doing this, then trying to attack a freehand. If you feel that you just can't do it, use a hard edge. - Continue to shave and build you a portrait because I'm gonna work on the shoulder. I raised the canvas up. You could do the same. Adjust your drawing of your art surface to accommodate your comfort, so painting the arm is very subtle here, so I've done it very subtly. I'm gonna work on it a little bit more. You guys do the same. You're also going to shade this and sort of ended there. You can see that the shapes our ends and in the arm is just pretty much clear. So you want to do the same If you make any mistakes that could see here, there's a slight smudge Don't worry about it Can always go over it. Just get continue to shave and build this up. You could see the back. She has this really subtle shading here. I want to replicate that I'm gonna do now. - Now , this is the challenging part. You're gonna have to shade that back. You can have toe airbrush a line there. If you feel that you can't do it, then you believe it without it because there is enough gray there. But to really sell this this look, you want to do small things like that, follow the line. You can see that the shadow from the hair actually has two pieces of shadow one for like, a single strand of here like a small bunch and then another one. Small little observations like that. And when you repaint that, that's what really sells the photo realism of the image. So now we're gonna start shading areas of the face, pay very close attention to the shading around the eyes around the sockets, even around the hair, the hair here in the eyebrows Put in whatever grey shading you see be as accurate as you possibly can. Continue to build the tones around the nose. Be very observant of exactly where the shading is and how the nostril fades. And make sure that you do it very subtly. Build your your shading slowly. All right, so now what I'm gonna do is I'm gonna story going towards the lips just to build it up. Although my shading is not completely done, I like to build other areas up just so I can have it. The image come or the life. So if you want to continue to shade, you can do that. I'm going to start shaking a little bit on the lips and start bringing this character to life on. The way to do that is take the same great you're doing it and start making the wrinkles on the lips follow these wrinkles. There's quite a bit of wrinkles. Don't worry about the white highlights right now. You're gonna put white on it, but try to leave the space for the white so that it looks realistic. I'm even gonna airbrushed the black in that That's normally for the teeth. Even though this is just great and it's not black, it will build it. And I'll know where my accuracy is. You don't need any mass. You could do this freehand. The airbrush is if you have a 0.3 airbrush well, 0.35 you can get a very fine line. Important to note that, remember, the shading that we're doing is not our final shading inside the area under the chin around the eyes. That's actually a little darker than the medium grey that we used to do. The shading now the area around the back that could remain or final shading after we reinstall the highlight again because it's sort of dies back. Once we get that, if we have the correct amount of darkness, then there's really no need to add extra. But for the chin area, you can see that This is like there's a degree of blackness of deepness that we're missing here, So this shade will just establish the tonality of the painting. But to get the final shade will have to use black. But for now, continue building it out, including the eyes and the shading the lips with the gray. And then when you're all done, dental to black, - continue building it until you have the lips shaded in the way that you want. And why did you start to paint and build your tones? I'm gonna challenge you to do something that works really well, but it might be very foreign to you, especially to you guys that have already been airbrushing. And something that I do that works really well is take the painting and flip it upside now . Or you could flip it sideways but flipped upside down and make your reference photo turn that upside. Now, Now, the reason you want to do that is to disconnect your your assumptions by looking at Lipton eyes. You already know what that looks like. We want to disconnect that and just copy the reference. So by doing that and flipping it over the shapes will change, So you have to be a little bit more faithful. Another thing that usually happens is that when you flip it around, you'll see that your shading might be slightly off because things look slightly different when they're upside down. So I urge you to try this. Flip your reference upside down, and you may find little areas that you think you have, perfect or not, and then it just give you more accuracy. So try this out. There's nobody works. Well, you up. I'm gonna continue shading mine. Continue shading yours until all your great parts are done and then we'll move on to black . That would be because I shaded a lot of it. I'm gonna go onto the hands when you go into the hands. Just very subtle airbrushing with the outlines. Just be sure not to shade it too heavily. It's just a very light shade. Just observe shading in the hands. - You go ahead and shake your hand, and then when we're finished, we'll move on to doing the dark, the darker tones. What you might notice is that as you you've airbrush your grand, you may have killed some of your white your white highlights may fade a little bit. That's perfectly normal. What you could do is just get some more white in your airbrush and then go touch it up again. So if you're if you're white, highlights have have faded back. Just add some white again and restore them. - You'll see that her skin isn't perfectly smooth, there's texture, and everyone is like that. We will have texture to our skin. So if you look at the white, there's actually like highlight of White. That's a little like, sort of very gated and sort of text arised. Look around the photo for different spots. I can tell you right here, under on her chin there, some just around her nose above her lips and you know other spots throughout. Look for those areas and add some white and add those little highlights that really makes the picture look photographic when you finish it, if it goes down again because you know you're spraying and over spray just at it again. So that's the part I'm gonna do now. And that's the part I think you guys should do. You should do a lot of small highlights, so I'm gonna start with the chin area right here. You could look at the reference photo and you'll see that it has some small amount of irrigation and what you could do to help make that textures shape the Airbus a little bit when you spread on that will give it that like irregularity. So by now you've probably been putting your white highlights on. And what? Let's do this. Let's focus in on the lips and let's see. You should be able to see that there's a lot of school like white speckles and sort of reflection from the light hitting her lips. And, of course, our lips have a lot of crevices, and her lips are clearly, you know, reflecting some of that cause. She has some sort of glosses something on her on her lips. So let's make sure we get that. Like I started putting some in and you guys should do the same. Make sure that you get the bottom highlights. In off course, we're going to go win with black and shaded a little bit more. But for now, let's put the indications of where these highlights should go for this. You want to use you know a fairly thick, white or strong white, and this is not gonna be watered down. This is also why you don't want to do the teeth bright white. Because if you look their areas of reflections that are pure white and that is what makes the tooth look riel, it shouldn't be the whole tooth shouldn't be, you know, perfectly white. It should be sort of like an off white like like someone's actual teeth. And then you have sort of like the reflections that are the brightest spots. If you did the whole tooth white, then you couldn't do that. - See the corner for lip, How it has those little from being wet. That's exactly what you want. A copy. Continue on with this and then we'll move on to another area. At this point, you're just about done with your light shading, and our next step is to move on to our dark shading. Congratulations for getting up to this point 8. Dark Shading: way have are grey set up and are white highlights in place. We can always go over them again, but your paintings look somewhat like this. If it doesn't get to this stage where your white highlights are in place, your grey shades are mainly done because going to move on to black If you're shading isn't like this, then go ahead and get it to this point. So now we're gonna just gonna do areas of black. So with black, it's very important that you don't go too fast because it's hard to take it out to spray over it. It's kind of one of those things that once you do it, you really don't want to mess around and try to, like, paint over it again. We want to get it right the first time. So do it slowly build it, you know, slowly. Don't just spray areas and then realize you over spray too much and observe your reference So I can tell you in looking at this, we have a few areas that we have to be very mindful of. This area here by the hair that's very dark black. So that little area there we have eyebrow there I beneath the But let's not do that. I yet just to the shading here and don't treat the hair is like a bunch of like strands. Treat them as shapes. This is like one shape. There's ah like a curve there. Then there's like something's coming out of it. Just look at these as shapes. Don't think of them as hair, um, and then under the neck. He and this neck and chin area here, underneath this great big section here that would be here. That's black. And then we have areas of a hair. Be very judicious. When you do it, just judge very carefully because you only get one shot. You know, once you mess up, you can kind of fix it, but it it gets to be a pain. So, you know, just take it slow. Don't shade her skin too much because there's only really this area where is black, inside her mouth and in certain spots, Our eyes. That's it for the black on her face. Ah, lot of it is going to be in the hair and you want to use it like very wispy. You know you don't want to be too heavy with it. And then do you have a shadow here? So this is what we're gonna attack now use. I'm gonna use some some spectra checks of black. It's it's what I have. I have other paints, but it's what I have on hand at the moment. So that's what I'm going to use and just pick a spot that you feel sort of like you're ready to take. So let's say let me see for me. I think I'm gonna start with this area here because it's the largest area. And be mindful that when you get to this everywhere the hairs, they're gonna go over it, you're actually spring the background, So lay it down very lightly and don't spray heavy where the hairs will go because those hairs are gonna go over it. So let's do that and be very careful how you do it. But don't be afraid. Just do it. I don't wanna to freak you out. I just want you to be very cautious how you do it. So the black I'm using is straight out of a bottle. It's spectra text, but you can use whatever brand you have It's just the jet black. It's opaque, it's made for canvas. And any black Pete that you have that made average pink should work fine. So I'm gonna jump around the painting and start putting black in areas where I think it should be. If if you're a little intimidated by doing it very strong, make your black a little bit thin and working very slowly, you can build it up. I used to do that when I first started, cause I just felt like a little bit intimidated. Black was strong and they messed up. I couldn't fix it, but in time you'll get over that. But for now, if this is a little daunting, they're not your black a little bit and build it up very slowly. All right, so but enough. You're starting to Shane yours or start looking darker and it'll start coming together. Not important to notice a few key areas. And with the hair, it's very important that we do the shadows right, because it does make the image look correct. And if you look at the hair here, don't think of it is here. Think of it a shapes. So we have this shadow. That sort of fades and we've done it in great. But now we want this black area. Want to fade it very subtly. So do this area do a very simple fadeout, Be very sharp, and then you could do the small shadow that's behind the hair and some of the inside. Remember, we're not painting individual strands or painting shapes, and it's important to to see these things. And that's what really makes a good airbrush painting. It's not really how good yards how observant you are. And you know, once you see all these little nuances and you're able to paint them, I think you're pains will get to the to the level where you could paint anything you want. So, you know, just be very observant. Tried to paint those things in very faithfully, and that's what I'm gonna do now. You guys do the same. So with the shadow, we could see that it's very dark where the hair meets the shoulder and then it fades very quickly, and it's not pitch black. It's just a very subtle shape. You should start looking something like this. Continue to shade it. So you replicate the photo So what I'm gonna do is I'm gonna start attacking the top part in building these shapes. Be very mindful of how this cut is in her hair and that that forms the shape of where the highlights are gonna go. So just, you know, be really careful on how you shade it. Start building up your your shapes of where these specific areas are, and the painting will start coming back. My coming back, I mean that it starts to form, but I'm looking for when I do. The hair is I'm looking for these shapes. You see how shadow comes in and there's like, looks like l or be in their identifying where these spots are and building them in. If you notice in the reference you don't really see distinct like back and forth. What you see a striations like, you know, you're not drawing every individual hair, which actually doing is showing clusters of it. So keep that in mind, because we're gonna go over this and do some of the great part over this. But try to do with the black just with the black. Do it as faithfully as you can without thinking about it every stage of when you paint, you should think about it and an attack it as if that's the only color you have. Don't think that or you're gonna put another color on top. We know that we're gonna come in with some grey shading and do these hairs. But don't attack it that way because then you sort of get sloppy. Say what? I'll do it with the great. Do it as much as you can. Render as much as you as you can with the color you have this way, you're allowing yourself some room for error in case you don't do it correctly. So you know this will also develop your free hand airbrushing so you don't have to rely on using stencils, mass or other things. I'm gonna continue to do the paint and you guys do the same and get it to the point where I guess where you can't go anymore. You will get tired, you know depends on the type of pain your how stressed you are. But it can get tiring and monotonous because it's it's very repetitive in your and your mentally straining on how to do this right and you're focusing, and if it's your first time, that makes it even more so stressful. But try to relax, enjoy the process. Don't worry about it. If you don't get it 100% right, you're gonna do this a few times to get it perfect. And practice makes perfect, and that's how painting is. So I'm gonna continue to go and then we'll eventually get to the details. But this solution you up. If you do the hair and other areas before you get into the details, it's a way of getting loose, because if you go straight to the details and you haven't been there bursting for a little while, your accuracy could be a little both. So this is sort of get you in the role, and then you can jump to the detail. So I have raised the painting up, so it's a little bit more comfortable for me, and basic hair shapes are done. I'm going to keep on doing some striations here. You did the same yours identify these shapes that you see and paint them in first. All right, we've done quite a bit of shading, and you can see that I've put all that. The shapes that I need to put for the hair. I did so here and now I'm gonna work on this area. So if you're having trouble, what you really want to do is you want to identify these shapes. So we look here, we can see, like this sort of a V here. There's, like, a almost like an s curve here. So that's what we have. When we did our gray, remember I told you to follow the contour so that it would help you build us. So if you're graze accurate and you did your shading, you should already have a pretty good guy line. If not, this is a time to correct it. And you want to find, you know, follow the shading and where it's lighter. Just be lighter. Like if you notice here, there's very little here because there's very little here. And if you look, it's a very subtle fade from here. Look at this. The shape here, like a sort of like a bowl or something here, like a days. So it's dark year sort of dark down here and it fades up. You kind of want to do that but you got to be very careful with the eye area. So let's that's shame very carefully there. So I would say attacking by doing this curve established, that curve established this and this line here. Once you established out and you can find it's easier to to shade from that point forward. So take some medium toe light black like take your black and thin it out. Likely don't think it very heavily. You don't want it like super pig, but you do want to show, so don't use it straight out of the bottle. I don't know what black you're gonna be using, but in my case, normally when you paint straight out of the bottle, it's very, very intense. Then it out slightly, just like so that you could just shade with it. One to establish these blends. Then you could start doing small indications of hair. Remember, you don't want to think of it. His hair. I think of it as shapes toe have sort of like striations, and we'll start doing that now. Another tip is the way this is shaped. You could probably use like a French curve. One of these shields if you have one, and you could sort of use it to sort of block it out These air very helpful. You don't want to rely on it, but it definitely helps in creating these shapes. Or you could do it FREEHAND any which way? In this case, I'm probably gonna use it cause it fits really well. But whatever way you have, it's fine. That's all you really want to do with shield. You don't want to do a lot of hair with it. You just wanna get some basic shape. I will continue shading and putting in the forms of the hair. You did the same. You've gotten your hair to the point where it's just about complete. - What I'm trying to do is just get some of these lines. They shouldn't be sharp. You got to make sure that some of the hairs look sort of like fuzzy and not well defined. That gives the illusion that the hair is out of focus and slightly in the background. You got to try to replicate that as well. So now I'm at section where I'm about to do the I. So this hidden eyes fairly dark and obscure and we want to make sure that we copy these shapes. There are hairs that are gonna go over it. So keep that in mind. Don't be a too dark here cause it's not black. There were some shading, so that's what we gonna do now. - All right, So hopefully you're painting has been progressing like this one has, and now I'm gonna move over to the lips. So the first thing that we have to realize here is that there are two very dark areas here in the sight inside the lips, so use Ah, fairly thin black. It should still looked black, but it should be thinner than very thick. And the reason why is when the pain is very sick. Sometimes it doesn't flow as smooth. Me and we definitely want a dark in this outside, cause we used the gray and we want a darker because it's actually a darker shade here. So we're gonna go inside, start shading teeth and some of the lip area. - So hopefully your should look similar to this. You're gonna do the shading there and be very careful with that thin line. And there's actually a slight gap where it puts a shadow on the teeth below it. So make sure you follow that as faithfully as you can just because you have black. And here we can also move on to the nationals and do the nostrils. Okay, Your face should be getting the tones that you need to with the black one. To establish time, you could start shading in these other areas that are a little bit too light. We're going dark in them a little bit theme. All right, so now we're gonna move on to the eye lift is mainly done. I can add a little bit more shading, but I want to move on to the and start shading it to build a final look that I'm that I'm going after for this painting. So but the I there's a few observations. One is that this the eyebrow itself is fairly sharp. It has almost like a teardrop shape to it, with some little like gradations inside and a few scraggly hairs. We definitely want to make sure we put that in the eyelashes is very stark. It's very detailed. And then there's some shading around the lower eyelid, so we want to get that in there. And then the inside is a very straight pupil. There is some shine day which we can add Red, white, and then we're gonna loop around it. All this you can do freehand. It shouldn't be any problem is very strict way I'm gonna continue to work on the are you guys do the same. Okay, so the eyes is mainly complete. I'm gonna darken the underside to match the photo. She has, like, a blotch or beauty mark on her. I am not sure if I'm gonna do that, cause it might look like a mistake. But we'll see. I'll take a look, and I'm gonna build this up a little bit. Mawr being mindful that, you know, you're not doing hair lines in there. I know that's what the eyebrows are, but it should look like the shapes and it should have some like it shouldn't be purely smooth, because then it looks artificial. And you wanted to look realistic. So draw like the little spikes of handing out of place, and the small blotches make it look as close to that as possible. Make sure that you shaded, like around here in the eye around here. the small scrag of hair there. There's, ah, slight blurring here. You want to do that, - Keep on developing yours until the eyebrow is completely done. Okay, so the painting is is mainly done as far as the airbrushing. I have a little bit left to go in the hands, which you guys could do that as well and a lot of the tones already set so I could brighten it a bit in certain areas. But pretty much we're going to be done with this painting. So now you might be saying, Well, what about the hair? The hair is airbrushed as far as I can go, and what you can do is I can actually airbrushed some gray light gray to make destroy ations to make these things look mawr promise. Like you see in mind. It's kind of dark, so which would want to do is you can airbrush grey. Don't use white because you'll see a color shift. Make a gray like her skin color, like a medium to dark grey, something like here, and you can airbrush to that and then airbrushed the black over until you get it just like that. Now there's a few ways we can do this. We can also use a paintbrush. You could dip it in some light grey are actually the dark gray and just very something like a liner, just very likely put like small streaks and an airborne over reason. Where you gonna Airbus over it is because you don't want the paint lines to show with papers, and it will show you're gonna see distinct lines, and that's not what you want. What you want to show is that background that it has texture. So when you airbrush over it creates a nice depth and you killed it back, you're sort of send it back. You could do it a few different ways. That's one way where you can do it, where you could take your paintbrush, paint it in in an airbrush back. Another popular technique that guy's air using today and it's and it's gaining a lot of popularity is using electric erases like this on what they do is they sort of scrub it and you turn it on and it sort of spins and you can sort of chisel in those textures and then you can airbrush on top of it. sending it more back. This is a really nice way of working on it, the only problem in campuses because cameras has texture. When you when you do it, you kind of see, like the ripple effect of it spinning because it skips texture enough. This was a smooth surface, like the sale would panel or illustration board. This works really well. You could still do it on canvas, but you're gonna have to airbrush over to sort of send it back. But it is very effective. Another technique is people are using a point that object or a blade, and they're scraping in the highlights that work. But that works only for the very finest hairs, because these hairs a somewhat coarse and thick and sort of blurry. I don't think scratching them in would be a good technique for this. I think the two options are to paint it in with a brush or airbrushing and go over it. I'm gonna keep this purely airbrushed. So I am going to airbrush ah, dark grey inside and bring these tones back. And then so you're gonna go back and forth. I'm also gonna airborne black over it again until I get this sort of look when I get this look and I achieve it, I'm happy, and then that's when I'll stop. It's important to know that the bottom is very loose and it's not well defined. Your painting should look like that as well. There's a few hairs to go out, and you want to make sure that you get him. It's sort of cells the effect. There's some in the back as well. If you hear want Adam like there's some stragglers out here. I didn't put him in, but I'm going to so be mindful of this. So let's attack the hair. I'm gonna airbrush some great and then go over it, and then we'll see. You know what we achieve and we'll see which direction we want to keep on going. Okay, so I'm gonna start airbrushing the gray tones to re establish these hairs that are lighter than what we have here. Now, when you're gonna add white Teoh, bring back the highlights and the and the subtle shading of the striations at a touch Just a touch of orange to your white. The reason why you want to do that is because you get a blue shift in the white when you paint on black, especially when the outer area is white, you're going to see that shift. So adding a touch of aren't warms it up just enough to remove that blue cast in that blue shift. So just add a touch of orange to your white, then do all your small highlights that were in your striations to bring it back and then over black. And then you complete with all the small detail that you have to do in the hair. Then you can go over the entire image sort of dark and up, and highlight anything that you've missed or that you feel that the painting needs to be completed. We're almost done. Rooms complete. So because I put a little bit of orange in the white, we don't have that color shift, and you can see here that it appears, is gray. It matches the grave for skin tones and the lightest graze. So this is exactly the effectively want, and we want to kill that blue effect. But anyway, so now you can see that I've added some of the striations back and I'm gonna work on the upper area. Once this is done, I'll tidy the rest of the picture by looking at things that are not quite right, and I'll make it 100% as much as I can go. You guys do the same thing and then we'll be done with it and we're gonna do an overview and final words on on this panting. Hopefully you've been enjoying it throughout the process. But we're at the end of our project and hopefully your results of somewhat similar to this . Now, this is an intermediate level black and white airborne portrait. So it is a little harder than something that would be maybe more basic. I am gonna post the class on a basic, more beginner friendly portrait as well as a very advanced black my portrait. So there'll be three black marine portrait in total. So if you didn't get the results that you were looking to get, I suggest you know, you try this again. If you practice, you will get better. And maybe when I get to post that beginner level when you could try that classic, maybe that will help boost your confidence. But this is something that does require some practice, so don't feel too bad of your results who aren't as good as you like them to be. You know, my first portrait weren't too good either. So you know, it's just something that practice makes perfect. So to make this particular painting a little unique what I typically do is I start with a reference like what we did. And then I had my own touch. So for this particular painting, I'm gonna add flowers to the back of her hair and her back. I'm also gonna put a black choker and paint our eyes blue. That's just my personal like preference of how I could make this more unique and more artistic and my interpretation of what a nice image would look like. You could modify your images in any which way you'd like to make your interpretations, comes a life. So these are just little things that I do. So if I was unclear about anything throughout the class p sending email and let me know so that I could use that suggestion to improve the next classes, my email address is Steve at steve Nunez dot com. I'll be sure to read any comments you guys send me. And I look forward to producing new classes. So just so that, you know, the next few classes are gonna be a little bit different. I am going to do a full color portraiture class. So anyone looking forward to that could take that class. And like I said, I am going to do a beginner level black and white portrait. Like I said, this is an intermediate. And then I'm gonna do in advance Black and white thinking is that once you do those those three black and white, you could step up the color and then as well is that I'm also gonna do a couple of things that I think you might find unique. I'm gonna do some wildlife, are using an airbrush as well as new motor sports car, which is very geometric and very a lot of locals and things like that. You guys might find that interesting how I get those details. So I'm gonna do motor sports art, and I'm even gonna do infant painting. So that's basically what's getting very popular. Today is our wedding photographers are taking wedding portrait, but now a lot of baby photographers are taking portrait of babies and newborns, and that's a fantastic idea. I was actually requested to paint something like that. So I'm gonna use that school share class and hopefully you guys find that interesting, and that will be in color. So that's just one of many classes I tried to put out on school share. And I hope you guys enjoyed it and saw some insight into how I create these paintings, and I can't wait to see what you guys make your brush. 9. Final Words: congratulations to you guys have finished this painting for some of you that may have struggled with it. And maybe the results didn't come out as good as you had hoped. Continue to practice. That's the great thing. With video, you can always rewind if something was a little bit unclear, and you could sort of look at it again and give the second try. If you're painting didn't come out the way you like, and you don't have other cameras. Panels. You can always paint your painting again white. Sand it down, do the great tone and then start again. There is no harm in doing that over and over. I know when I first started, I did things like that. But anyway, that's that's what painting is. It's trial and error and learning. Each time you create a new painting, you're gonna learn from your mistakes. You're not really gonna learn from your successes, so making mistakes in the beginning that's perfectly acceptable. That's how people learn and grow for you guys that we're able to do this successfully. You probably have been using their birth for a while. Maybe maybe you've attempted portrait or other sorts of things that involved a lot of shading or drawing so big thumbs up to you guys. And now you're ready to try the advance Black in my portrait, which I'll be posting soon. And I can't wait to see you guys make with your airbrush. So this is not the end. Now this opens up a whole new world of airbrush possibilities for you. You can look at sort of reference photos that you find and give those a shot and and paint them on your own. And hopefully the techniques that I showed you have been instilled in you and you can try using that when your next painting. You know, start by studying the reference picture and painting the overall tone and then adding your highlights and going through the process. And I can't wait to see what you guys make, you know with your own personal projects. So, in finishing this painting, of course, you want to put a gloss on it or some sort of protection, because technically, acrylic you don't have to. The acrylic paint in itself is permanent. It's durable, sort of a rubberized pain. But to be honest, I I have found that you can smear it to some degree, and I think the best way to finish off these paintings and by putting a gloss. And if you don't like the gloss finish, you want a flat finish, then you can buying Mac, and it's a mad medium is basically or actually a Mac clear eyes like a flat. You know it evens out the painting like you won't have shortened paints a little shiny than others, and when you put a Mac clear on it, it just levels it allowed. It makes it really nice to photograph, but for those of you that like that loss finished, they so just a clear gloss that you can roll on it. So that's how you'll finish it. And before you put the gloss on it, you'd want to sign it because it's your creation. It's your new piece of art, so make sure that you signed the painting even with the pencil is fine, and then put your final clear on it, whether it be matter gloss and then you're ready to hang it. Another additional step is that if you like, you can also frame it so you can get like a custom frame or goto a local hobby shop art store. And they sell frames for this, and you can order them online and display your work. Pride probably at home Sunday. Thanks again for taking this class. I really hope that it helped some of you. And again, I'm open to suggestions. Send them to Steve at stevens dot com. I'll be sure to read them and apply them to the next video. So again, thanks again, thumbs up and keep on air parsing.