How to Paint Watercolor Portraits | Watercolour Mentor | Skillshare

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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

17 Lessons (7h 40m)
    • 1. Introduction

      1:02
    • 2. Materials Required

      11:48
    • 3. Drawing: Gridding Lesson

      19:32
    • 4. Drawing: Freehand Drawing

      28:55
    • 5. Paint a Ballerina: Part One

      37:21
    • 6. Paint a Ballerina: Part Two

      29:58
    • 7. Paint a Ballerina: Part Three

      49:13
    • 8. Female Portrait 1: Light Areas

      18:21
    • 9. Female Portrait 1: Dark Areas

      33:56
    • 10. Female Portrait 1: Background

      27:22
    • 11. Female Portrait 2: Light Hair

      41:31
    • 12. Female Portrait 3: Brown Hair

      35:12
    • 13. Female Portrait 4: Shadows

      28:51
    • 14. Female Portrait 4: Shadows

      27:02
    • 15. Female Portrait 5: Light Areas

      29:43
    • 16. Female Portrait 5: Dark Areas

      37:09
    • 17. Class Project

      2:37
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About This Class

I'm Darren from Watercolour Mentor and welcome to 'How to Paint Watercolor Portraits'! 

Portrait painting is challenging! Especially challenging for beginners. By the end of this class, you will be able to easily turn any photograph into a realistic portrait with my portrait painting process and be able to show off your vibrant portraits to your friends and family!

I'm going to simplify the portrait painting process for you by showing you:

  • How to sketch and paint 6 different portraits, based on 6 reference photos.
  • How to use the grid technique to transfer a photo of a portrait onto watercolor paper.
  • How to quickly draw faces from a reference photograph freehand.
  • How to paint subjects in various poses and lighting conditions.
  • How to draw a portrait in pencil using two simple methods.
  • How to layer paints to add color and details.
  • My two step process in painting a watercolor portrait - keeping colors fresh and vibrant.
  • How to use essential watercolour techniques in the context of portraiture, such as wet-in-wet and wet-on-dry.
  • How to determine a light source, and the correct use of values in painting.
  • What essential paints, paper, brushes and drawing materials you will need.

This is a feature packed class, and I have included many demonstrations to provide you more opportunities to learn how to paint different subjects.

So if you're ready to boost your portraiture skills, join me in this class and let's have some fun!

Demonstration Paintings covered in this class: 

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Watercolour Mentor

Art Classes, Mentoring & Inspiration!

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Transcripts

1. Introduction: Hi, and welcome to portrait painting and watercolors. Portrait painting is challenging and especially challenging for beginners. By the end of this class, you'll be able to easily turn any photograph into a realistic portrait with my portrait painting process. As a bonus, you're going to have some paintings that you can show off to your friends and family. I'm going to simplify the portrait painting process for you by showing you how to sketch and paint six different portraits based off six references. You'll learn how to paint subjects in various poses and lighting conditions. I'm also going to show you how to draw a portrait and pencil by using two simple methods. And show you how to layer paints to add color and details. This is a feature pack class and I've included many demonstrations to provide you more opportunities to learn how to paint different subjects. So if you are ready to boost your portraiture skills, join me in this class and let's have some fun. 2. Materials Required: Okay, So in this video, I want to talk to you about the materials that I use for this class and some of my recommendations for you. If you're gonna go out and buy your own materials or you've got a bunch of materials at home that you just wondering, watching me what brushes, that kind of thing. I'm going to go through all of that right now. Firstly, with brushes, you're going to be needing two main types of brushes. Now the first type of brush is a kind of wash brush that's going to be able to cover a large area, such as the background for this portrait here. Perhaps the hair for the subject, and also the face area just to getting the skin, maybe some of the clothes, that sort of thing. So it's really important that you've got something like a three-quarter inch flat brush, even a one inch flat brush that has the trick. I've also got a number 12 flat brush here because I know, especially for this portrait here with a face is relatively small compared to the sheet of paper. Have a look at the brush and just place it over the top of the face and you be able to get a good indication of whether it's big enough or not. Because if you're going to be using something like these one inch flat brush on their face that's probably going to be too large. And you start getting into areas of the eyes and you not be able to get things inaccurately. So always look at size of the brush and the shape of the brush as well, and see whether it's acceptable and appropriate for the kind of object that you're painting. The reason why I use flat brushes is because it just allows you to get in some nice sharp edges on the face. So around here where you've got the jaw line, that kind of thing, you can get in some shadows like that. Nothing I use it for is the hair. So you can see I've got some DACA strands of hair running through the lot of strands of hair. And if you've got flat brush lot of these, when you dry it off, you can get some noise dry brush strokes quite easily and almost getting five or six to 10 different lines coming off in just one stroke. So it really saves a lot of time and makes the painting look a lot more natural as well. Another thing you can use is a calligraphy brush for larger sections. So I tend to use this one because it's got a point as well. So which means I can get in the cut around shapes, getting some more details. If you've got a watercolor mop brush, such as this one here, that can also work well too. So it's really up to you. I tend to use the flat brushes though, but give it a try and maybe try both of them, flat brush and a round brush around mop brush and see which one works well for you. Now, for other areas such as small detailed areas, lips, Eyes, eyelashes, that kind of thing. That's really crucial to have a round brush that's got a nice points. So I use this one here is number four as Skoda sable brush. So I got this is a gift a long time ago, about a few years ago and it's starting to wear down. I can see some of the hairs at 4.5, but it still keeps a very nice point. And you'd be able to just get in and do some more details. Very crucial with portraits to have a brush like this. Otherwise you're not going to be able to get in fine details like eyelashes, the pupils and stuff like that. I've got a synthetic round brush from a number one to number four. That is fantastic as well. I use those two. So just have a look around at what you've got mentee going to need is a larger brush, maybe large flat brush such as the number 12 or three quarter flat brush to get in the larger areas and a smaller round brush. So that's my main brushes. For pace. What you're going to need is the main palette that I've got here. I've got some, I'll just move this off to the side. So this is my palette here. And you notice there's a whole bunch of colors and one of these just squash, which I don't even use at all for portraits. But what we've got here is a bit of yellow ocher. I use that quite often with my portraits. Bit of lemon yellow and a bit of pyro read if you've got some carmine or permanent red, that works well, to be honest, as long as you've got a red and a yellow of any kind, you're going to be able to do this course. Other colors that you're going to need. Blue I tend to use as well, maybe for eye color, maybe for background affects, that sort of thing. It's important. Little bit of brown as well. I've got burnt sienna. I've got some burnt umber here that does help for some darker skin tones. And I've also got fear, a bit of neutral tint squeezed out straight onto the one of the wells. So all this does is that it just allows you to mix it with any of these other colors and get a darker version of that color. So really good. If I want to create some shadows, for example, that is still warm in color, I might add a red and a bit of the yellow mixed up and authentic. I want to make a bit of a darker shadow underneath her eyes. Well, just mixing a little bit of this neutral tint and that's going to get that dark effects. So really that's all the colors that you can name them. Thinking if there's anything else we need to go through. I do have some other blues, cobalt blue, ultramarine blue as well. But apart from that, um, you know, the main colors, like I said before, make sure that you've got your flesh time. So a red, a yellow. Maybe it burnt sienna, burnt umber, and some different colors here to indicate I color in backgrounds. So blue-green tend to be pretty common name and useful as well. So that's about it. For colors, quite simple. Now, the paper that I use, I'm using two different types of paper. Mainly I'll be using this paper here which is Arches, 300 GSM smooth watercolor paper. And with his paper, the interesting thing about it is you're able to actually getting a lot of detail since the papers smooth colors tend to sit on top of the paper as well more than say, rough or cold press paper where the colors tend to just sink into the nooks and crannies, that sort of thing. So good thing is that you can also lift out colors. So if you make a mistake, you can go ahead and just lift off a lot easier. I wouldn't recommend that too often if you can avoid it, but I think if you still learning, do what you can to get through it. And if you want to modify something, go ahead and give it a try. So this is, like I said, 300 GSM arches, hot press paper. I find it to be quite the same. I've always been used to actually use it in this other paper here, which is Saunders Waterford, 300 GSM. Now both papers are a 100 percent water color paper, cotton watercolor paper. So if you can afford to find some, a 100 percent cotton paper, I'd really recommend that. And the reason why is that you're just gonna get a lot better results. The color, the paper is just going to look nicer. You're going to have that longevity. And most importantly, you're going to be able to replicate all the techniques that I'm mentioning in this class on a 100 percent cotton paper because that's what I'm using. If you don't have a 100 percent cotton watercolor paper and you've just got some cellulose paper or some sketch paper. Just keep in mind that it does. You're going to be able to get a portrait, but you're gonna have to work a lot quicker. And layering techniques are not going to be as effective on that paper because you're basically lifting off the previous layer every time you go into it as well. So it's something to keep in mind and something to invest in. What I do, I tend to buy a big sheet of hot press watercolor paper. It costs about eight to $12 for a big sheet of watercolor paper here in Australia. And I'll just tear that up into eight to 16 little small size sheets, which turns out to be pretty economical. And at the end of the day you'll get the results that you want if you use in good paper and you're more likely to. So that's about all I want to talk about in terms of paper. I'll talk a little bit about drawing materials now. It's not really too much to go through. But the main materials that I use to get the sketch, which is absolutely crucial is these here. So I've got, just pick these out with an eraser. I'll put a mechanical pencil. So a few different arrays and mechanical pencil and a cotton bud, believe or not. So I use the cotton bytes are basically just create some soft shadows, things underneath the eyes or even around the nose area where it's really hard to get it in with the pencil. I use some chemical pencil that's quite heavy. It's, it's weighted and the reason for that use, when I'm doing some shading, I don't want to have to push down too hard on the pencil to get in a consistent kind of shading. And so the weight of the pencil itself for hold it at the end weight of the pencil itself is able to get it in a very light shade over the top, which I can then use to blend with the cotton by or even just leave it as is got a normal eraser here. This is just a normal rubber eraser. But in addition to that, I've also got these two smaller erases and they're fantastic, nice. Tombow, Tombow Mono raises. So all kinds of brands that do the same sort of thing, but this just allows you to, you make a mistake around the eye area, for example, you're able to actually getting an arrays that little area without having to come in with a big arrays are and actually erase the whole thing, causing me to do a lot more work than necessary. So this is a little trick that I figured out that saved a lot of time. They don't cause too much. I think I got this one for a few dollars and this one I've got the $2 on a sale. So they came with this one. Refill is inside, but that's lasted me a really long time. So keep that in mind. And also, if you're using the grid technique to transfer over your reference photo has just make sure that you've got yourself a ruler. That's absolutely crucial so that you can just get in the grid areas properly. So if you're measuring out things like two centimeter grids, but it tends to work pretty well. Apart from that, I think we've covered off the whole lot. So if you have anymore questions or you're wondering about additional materials, feel free to ask me any questions, and I'll see you in the next lesson. 3. Drawing: Gridding Lesson: Okay, in this video, I'm going to be showing you how to use the grid technique to transfer a view photos. And this is a really simple technique that I still use to this day because I find it just a lot easier and just makes it quite fast when you're transferring over the photos and under what all the time. But if I really want to get a likeness and also just speed up the process of transferring the image over. This is what I do. So there's a number of programs that you can get. I'm not going to say exactly which ones, but I've got one on my phone here and it just splits up the photo into different into a grid. So you can see here there's I think it's a 1, 2, 3, 4, 5, 6, 7 by something. Great. But what I've done, I've just taken the five-by-five grid of the subject's face and the rest of it. It's simple enough for me to really just drawing freehand. So what you can do as well is I've done this before. It just print off the photograph in the size that you want to draw it on. And basically just draw that grid on using a ruler and replicate that grid exactly on the sheet of paper. So what's important is that when you're drawing the grid for the face, just make sure you're placing in a section of the paper where it makes sense composition wise, you know what, they had to be too far, up to five down or left or right, just so that there's a bit of balance between the spaces. It's a bit of space on top and to the left and right of the face. So for this particular portion, I'm actually going to do it a bit larger than normal. Usually be a bit smaller, but I just thought I would make it easier as well for this class so that you're able to see exactly what I'm doing. So the main part of the grid we're going to be focusing on is the error, the face. Like I was saying before, you should be able to have an indication just by looking at my foreign here. So what I'm going to be doing, I'm just going to be starting off on the first part of the grid. And it's really good because I can zoom in to the reference photo using my phone. And we're going to start off with the several look here, 12345. So we're going to start off with this one just on the left here, the side of her head, there's a bit of hair coming out. So all we need to do is just drawing that area of the hair that cuts through this square here. So, but here like that. And we're going to just do the one above is well to rot. So just referencing looking at the square and trying to replicate that in here. And you can see, hey, sort of comes out to the corner like that. And so we need to do, and we're gonna go down to this side here and we can see it sort of cuts through an area just here like that and forms a little OK. So I'm just going to get in that sought of her hair. Like that. And we can see essentially around to the back here. This is even a bit of head coming up through the top of the square. Haven't drawn the grid all the way to the top, but we can get a bit of her hair coming through the top of that. And really the rest of a hears just all pieces of hair that come in through the front of fringe like this. But what we're trying to focus on is the lines and the area where her head sticks out of the background. So That's all I'm trying to do with doing this part now so we can see that it finishes around about here. And we're just going to draw a little line like that and comes out through the side there and around here as well like that. But if a hair sticking out the back there like that, we can see around here it comes down there. And this is where it starts getting a little bit trickier. So we're going to need to stop placing the ear. And we'll have a look around where it starts. And you can see it's almost in the middle of the square, the ES, so it's just around here. So I'm going to just sketch that in making sure that it's in the right place. And looking at where it hits the squares will suggest around bad here, I'll say sort of curves downwards and then goes and then we can still change it up a bit lighter. This part of the IAEA comes down like that. And we've got a little bit of detail in the ear that we can get in as well while we're here. Just like that. And let's have a look. What's getting this part of the ear like that, this sort of dark area that sort of comes through that B and the bottom of the here. Okay. So and so were finishes off. It's a belt around the belt here, less than the middle, just to the right mu area. So I'm going to sketch that in like this. Then she's going to be hearing some good things. Well, Okay, so that should do the trick for that side. And what I'm gonna do now is just work a little bit on her hair. So this side here I'm gonna go to the square where my thumb is. And just draw that unit for coming down. Like that. It's sort of finish us finishes off around here and curves into a head like that. Something like this. And the fringe just sort of cutting down here, just getting in a booth. A little bit of tea towel like that. And following that fringe random paths is sort of a head. Here. This bit of, Hey, kinda comes down, I've elapse before. I put this larger sorta strand that comes down. And so it goes towards her. He sought of an IEP. So just want to get this warning. That one's important. I've got another strain here. Remember with the brush later we can always getting most of the details as well. So just try to getting a very basic sketch. Main things you want to focus on. Just the proportions. So things like the distance between the eyes, saw as of the eyes, the eyebrows where the nose finishes off and things like that which we start getting into in just a moment. So I'm going to start off with the eye and we're going to begin just around here with the hair is. So if you look at the way the I kind of started, so I was in the middle of the square, just around here. So I'm going to mark that out. And, and kinda comes across like this, the Neith and goes underneath the fringe, finishes around the belt. And here I'll say just left, center, left center of that square. So I'm gonna just get that in like that, just going to REI in there. And yet the top section, hotter but I like that Maybe guy. And that's just come off like that. Remember to leave a little space then for the bottom of the eyelid, which is actually lata and the eyelashes come off this section of the eyelid. And we've got eyelashes as well. Isn't new. Pylon are on top like that? Just getting the eyes in a section of her eyes, steady, indication like this to start off with and get a pupil in the light reflected off then. Okay, and then really, rest of these is just a simple eye line and more refining. Need to play around with light up. That should do the trick now. Okay, so now that we've got in this side, we're just going to work on the other one now. And I think this actually needs to be modified very slightly. And you just want to. Lower it actually tiny bit. And then the side bring it down a little bit like that, will begin on this side. So eyebrow starts around the middle of this square, here and here very loudly. And this is about the time that I'll pull out a cotton bud and do a little bit of smudging as well. But we're getting these eyebrows and it just goes up like that, cuts through some areas of a fringe. And we can just do a little bit of smudging like that. And we've also got the nose which cuts through here, the santa of the steering and the center of the square. And then just outline it. And looking at bat where finishes on saying just down here, go to null is true. Very close to the end of this square that and then nostril finishes off, just to read here. And that the center of the pot here, just the center of the square. Just indicate that mushroom little bit more. That just getting scenario if a node is a bit better. Okay, That Beta k. And again, the cotton bud, we can stop putting in a little bit of a shutter coming in. On the rod side of a nostril. Like that, we can define a bit lighter. So we've got the light source coming in from the left-hand side and getting her other eye now. And notice it's a little bit lower. And actually it's sort of say heads to two. So we started off roundabout to look, it's a little bit lower than the other one that begins to bet here. Say just a better view. And it's just getting this section widely covered. Luke's who did and comes across here like that. And the side of laws, well, the part of it join it up there and connected up to this side. And it's okay to begin with, we can shape it up bit more lightness and we'll get in the iris and the pupil in just to start off with. And then, hey. There's a lot of some eyelashes coming off the side like this. Then. This one too as well. That we can get in the corner bottom of AI and some eyelashes CO2. We were indication like that. Okay, Let's have a look at a nice we're going to just leave that for the time being. We'll just start working on her lips. Now I'm mostly the side of the face. So getting this bit here and finishes around, he just comes down. She comes down here and here. Because through there. Let's talk a little bit more hollow coming through like that. And there's a lot of shadow and things going on around the printed out the side. Getting part of a nick through these underneath the ear and that you've always got me in time facing. Now, nick passes through this part. Here is a video of her shirt. That's okay. Just having a look. What else we need to do. Nose needs a bit of fixing up later than that. I think it's the general placement of it is okay. You just need to fine tune it a bit more. We'll get an ellipse in my case, list that around about here in the squares are left, center, come up like that. The New Deal in the center. And then it continues on here and just cuts into the square and the rod like that. Just trying to work on these little separation now between the lips and suddenly the bottom of the lip is larger than the top. And so we just need to reflect that finishes just to wrap up here. Top of the, just above the medial section of this square that would join that on like that. Okay. And just smudging as well, we just added bit of darkness to the lips. Is actually shadow underneath the lip to shatter Beneath the nose. Then it's begun to me, I hear a lot underneath the fringe. Need to get in. Okay. That's your foundation. And know a lot of these, I'm going to refine and detail a little bit more of the pencil just to fine tune it. Go up and do a final pass. But that's really all the grid technique is. And it just creates a reference for you to know where to place the features and makes it easier for you. So do highly recommend it if you're starting out or even if you're an experienced artist, it makes it a lot easier and quicker as well to sort of get into the details. And the end of the day. I think it's the results that matters the most. And also trying to practice both using the Great and just using some free hand drawing. That's probably the best method to go by. But you know, when you just want to get it right and you want to spend a little time as possible to get your reference photo in. The grid technique is a fantastic way to do it. 4. Drawing: Freehand Drawing: So before we actually get into the painting, what I wanna do is talk about a quick way to sketching portraits. And I'm going to just showing you the way I do it mainly by observation and making some very small measurements using your reference photo. So I've actually got my reference photos up on the computer and I recommend that if you are just starting out with portraits to actually print these pictures out, read about the size that you want to sketch the actual portrait in and place that photo directly next to your piece of paper. And the reason for that is it's just going to make it a lot easier for you to gauge proportions and things like that. Because when you've got the picture up on the screen, sometimes it might be at an angle and also you've got to translate it. So it's facing towards universe here. You're sort of having to compensate for that because you're drawing downwards. So the perspective and the proportions can be thrown off that way. So if you're just starting out, it's best to print off the actual reference photo tab next to you. If you can't do that, what you can do is just pop it onto your phone and put it next to your sheet of paper. I think that works quite well too, as long as you've got a pretty large screens. So we're gonna get started and we'll go with this first portrait here. And this is a front-facing portion of the skill. And what I'm gonna do, I'm just going to actually start by going through and outlining her hair. So I'm just using a normal loop to be pencil here. And I'm starting off in the corner of her hair here, where it's sort of comes out to the side. We've got little bits of hair coming off here like that. I'm just gonna I'm just gonna start I'm just going to start outlining the side of your head like that and getting some details for that. But mainly I just want to get in the shape of her heads. So for a pretty long head actually, and I'll pop into the chin or read about here. And the top of her head and say these are ground back out to have a look here. So we've got say it's around about here. So where her hair finishes and we've got the sides of the face. So roughly about here and then we've got some hair coming in to this side of the face. So I would say that it's horribly if we put that as the midpoint here we're nose is. So we can actually draw a line down the center of the page and just across from the middle. Like that. Just adding little guidelines. So top and bottom of the head, left and right, we can just estimate the right side to be right about here. And then we've got hair that sort of comes in around here, just in-betweens slightly to the right of this area here between the nose and the eyes. Just get in a little bit of that detail there. And then we've got a hair which sort of goes all the way up here. Like that. I'm just getting a little bit off the top of her head as well. So just really detail their case. Now what we're gonna do is we're just going to do draw. And it actually comes around the side here, here, comes in more like this and actually finishes off around here. So right underneath her jaw like that so we can kind of shade that in and enjoy finishes off. And it goes around to the back like that. Good a chin here and was getting the other side of her jaw. So we can just pop that in this. And so it would look kind of comes out. We've got a cheekbone here. So the area of her eyes is actually in the center of a heads. If you look at the reference photo, the bottom of her eye is actually the bottom of the eyelid is actually in the center of the page. So that's what this line here is, four and for you to mark out the proportions of our eyes. So now that we've got the center Martin like that, we can estimate that to be her nose and look at getting in the bridge of and those around you just mark that in like that. And then we've got our eyes, which started around about here. And we've got another artist starts here. And right here is, we can start by getting some details like that. And we've got the, again, the middle section, just a roundabout here. So that's where we're going to know at the bottom of the eye finishes. So work on getting in some of the details of the eyes. It's sort of curved at the top and then at the bottom it's kind of just goes down like this. So normally I would spend a lot more time doing this, but I'm just going through the steps that I follow when I'm sketching in these portraits. And we've got beautiful eyelid as well, which we can get in like that. Just a little indication. Popping up the eye's iris is and getting pupils well, the rest of it is coloring a little bit darker. This. And lawyers here, I'm going to actually pick up my cotton bud and use this to just smudge little bit down the bottom of her eyes. He used again a bit of that shadow saying with her nose and just work that in hearing and imply a bit of an eyebrow, which we'll get into in a moment. But notice the note at the bottom of a noise is in the center of this region beneath her, beneath her eyes and her chin. So if we divide this section into half like that, and that's approximately where the bottom of a news will be. So. About there so we can mark that in. And that's just by observation. If you look at the photograph, if you notice, if you look and you plan ahead for these sort of things, you're able to just keep in mind those little details which we do make a difference in the long run. So we're getting nostrils here, which is just actually bought that line right about here. Just really quickly. Sign of a nose like this. And like that. You have the nostril coming into the side like that. And just moves up here, joins on. This is where we can start using a bit of the cotton bud as well too, to just smooth out that section there and against popping the lips now, so if we're having a look again, if we separate and look at the section between the bottom of the nose and the chin. And we separate that again by half. You find that the bottom of her lower lip is in the center of this region. So we can mock that out like that. The parsing of ellipse here and the top of the ellipse here. So again, looking at where 100 start and end, you want to look in the corners of her lips. When do they line up? So if we look at her eyes, they always drawn up directly with the pupil. So we can then use that as a reference to mark in the left and right side of her lips. And again, getting the details like that and giving you these little pausing in the Santa Fe and then work on the bottom lip nuclease. So we're almost getting there. And like I said, this is a very, very basic sketch and do things like popping some eyeliner here as well, just as in the cellular and some eyelashes, you can pull those in as well. Really the rest of it is just refining and detailing it a little bit more. You might want to add an ES and check out where the year is. And you notice the ear coming out to the left is actually beginning at the bottom of the nose. So use that as a reference and look at where it finishes and on say around the top of the eye like that. But it's kind of covered off there. So these are just little tricks that you can employ guide lines for when you are drawing in your portrait. Make it worthwhile. Trust me on that because you don't want to stop painting and realize, Okay, you've forgotten to gain some really important details then by autonomy, if you've started painting into a little bit too light. So a lot of beginners don't spend enough time on the drawing. And even using a very simple basic pencil like Visa to be pencil, you can getting quite a bit of the detail and just by using the technique that I'm showing you. So we can go in and get a neck and we can see kind of stops right about here. And then comes down here. Again using her ears and reference. The should ever Nick can move them. Comes out randomness. Yeah. Yep. And then just goes down like that. So just another thing that you can keep in mind and you don't have to you don't have to follow that exactly. But with clothing as well and shoulders. Also as important, equally as important to make sure things are in proportion and making sense. Here we go. We just getting in a little bit of her hand now, some strands like that. It's getting the shape of the left side of hay kind of goes out to this slide from honestly too much. Finishes off ran here, the sought of a neck rub that Tdap like that. Okay. So a little bit simplified, but I'm sure you get the idea. I'll do a few more little demonstrations as well. And it was walking off the bottom is the eyebrows. Just shade that in like this. There we go. That's sort of tucked underneath the hay, like that. Getting our library here that comes across, finishes your event here. There we go. It should be. Oh, there are many need to do. So. You can tell this is a kind of lightness here and the longer you spend on it. And especially with the observations and finding out where I finishes and things like that, you'd be more attention to that and you can get it looking very detailed, indeed, and very accurate to the reference photo if that's what you're looking for, especially if you're painting, drawing a family member or something like that, you really want that portrait to look like that person. This is just a simple way for you to make sure that that's that you end up with that. So now all I'm doing is just looking at the dark areas. So we've got this really dark area for pay heed to the left. Like that is a really dark area here next to the chin. Um, as well. Here is another kind of, hey, come over to the side like that. I'm checking out for Haidt is, well, I think that's right. Thinking if it was a little bit too big. But I think that's, I think that's her audience might be slightly lobby too long, but sometimes it's hard to tell when you've got the footer front of you, you need to I'm sorry, when you've got the screen in front of you, you need to actually pick up the bit of paper and place it next to the screen to see if you are on the right track or not. Because again, like I said, you're looking at the paper and you're looking at the screen and a different angle. And that just makes it a little bit more challenging to figure out. So here we go. Just some more shading on her neck like that. British shading here. Their shoulder. And that's how you do it. And you know what I'm doing, I'm just erasing some of these little guiding lines that I've drawn in before. That's just going to tidy it up a little bead. Need to do all too much. I'm just popping the pupils to a better degree. So much you can do that. Okay, let's go ahead and try another sketch. And this one here, the head is turned on a slight angle and the body is also facing a different direction. So, so there'll be more challenging. But I'll show you just what I do to figure this one out. So really, let's just get into doing the hair first. I'm just popping in a bit of that little detail on top of the head like that. Now what I'm gonna do, let's have a look at how the face is centered. So it's often an angle and we're going to estimate the side of it to be around about here and the right side to be around about here. And the chin pop that over the top of the hair, which is somewhere out of the picture here. And the bottom of the head around a bat. And say Here. Okay. Okay. And just getting in that little potting of her hair and some basic details like that. Okay. I'm sorry. I've actually done the sides of the head probably a little bit too, and narrows. So I'm going to just extend it out to rant about the MOC that outline. And we've got to draw, and remember this face is kind of on this angle. So if the whale icon can remind myself is stop drawing these guiding lines that are going off from the sort of angle here. And got a bit of a drawer that comes out like this and then goes in and then out again, the cheekbone in like this. Okay. And the left-hand side coming down here. And joining up with chin here again, this is going to be around, around this edge and then coming up there. And we've got an ear somewhere around here. Okay. So it looks roughly or I want to mock out that center area of her head again. Going to be well these guiding lines and just couldn't get rid first. And mock at the center of the head. So say around here. And do effect. In fact, the eyes for this one are actually below the center of the head. If you look very carefully at the reference photo, the bottom of the eyes, probably around about here, just in the center of her ears. So I'm going to mark it in like that. Okay. And we'll get its indication of say, the sides of the eye. So look at the distance between the left side of her eye and then the side of a face here. There is a significant bit of space this, so we can add that in. And we'll look at when I begins as well, maybe around here and seven MOOC here. Who's here, for example. And finishes. Bad. Say. So we can do a quick estimation like that. Hope that in and that's getting online. That is 12. Like that. Okay. And we're going to have a look at a nose now. What noise? So I'm going to draw that line in the center here from the separating the section between the bottom of her eye and achieve into half. And this is the bottom of the nose like that. Now we're going to look at the nostrils, have FADH and they come out. They just hit the corners of the eyes here. So let's go ahead and. Imply that the null is true here. Oops, I don't want to be too big. And that's true here. And let's have a look. So that kind of comes out to a random edge here. Okay? And now it goes in and does a bit of shading here. So you can just use a cotton bud shading section of a nose and games section again, the nice K, and then it's getting indication of a eyebrows as well. That's good. That's shaped as to shape. Leaving a bit of space again for this side. And noticing as well that this is all kind of on an angle. And then we can start doing things like getting well, I lead some indication of one and like length k and another eye, brows donning around here and quite close to our actual eyes. The total of the eyes anyway. Just a new indication. And she's looking over to the right-hand sides. Let's getting those eyes then. You can dive into that side. Like that. Shading the r's that. Okay? And then suddenly look what else we need to do. So we're going to separate this section again into Hofstede section between a nose and chin, into half. And that will form the bottom of a leap approximately. And using the same technique as before, we're going to look at where the edge of the lips false. Again, sort of falls within the EHR, the pupil. So we just want to make sure that way getting that somewhat accurate. It taught me for live in like that and blue pausing there. And what I'm going to leave it like that. Okay. And you'll notice when I'm actually doing my, my actual portraits in water Calatrava use a mechanical pencil because it just makes it a lot easier to rub it out afterwards. If you've got little mistakes or things you want to change where as if he's not using a pencil increase in that with lodging marks, darker marks, and traveled to do that if I'm going to be ending up focusing on the painting. So just something to keep in mind. Although when I'm just sketching on unloved using pencils that have a slightly blunted just so that I can get in some broader strokes and indications. And it's just not really possible when you're using a mechanical pencil sometimes to get those broader strokes like these. Okay, so we have some hair that's coming down a face around here and ending, oops, and cuts pause to eat their ends about here. And then she's got a bit of hay coming in again to the Ross on the face and finishing around here. And I have to do too much. And the hair is important in a lot of portraits because it frames the face if you see here. And the agent per base is defined by actually the the hair and darker here that runs around it. So I'm going to emphasize that a bit more that's achieved, bone comes in like that. Thing comes in here. Like he's part of the jurors. Little bit comes in like that. Let me go to this. And similar to the sod as well, here, you've got, hey, that just comes down and you've got a year that's here. But you've got all this dark here that's sort of just cuts around and goes down like that. And if we go to the side, for example, let's have a look. It's just going to be given net coming out to. So what we can do it just getting a big area underneath in the nose. And we can actually use these private choose the guidelines and compulsive. Mean this, yeah. Then a hay sort of comes out like these on the side of the face and comes out a little bit like this. Coming around, pulling on his shoulders like that. Let's emphasize this kind of darkness underneath here as well. Shaped that here a little bit more. And looking at things that we can pay adding. So I'm gonna just do your eyes now let's add in a little bit of darkness on top of it, I just indicates the one-liner that she's wearing and then go in and popping some eyelashes like this. Oops. That's gone from an angle that she's smudge and move it over here in a bit of the shoulders like this. 5. Paint a Ballerina: Part One: Okay, my finished the reference photo and you should be at this stage as well where you are that you've used the reference photo transmitted over in its entirety, or you just use it as a general reference, whichever you choose, that's completely fine. I've basically just gone over the entire reference photo transmitted over, if you can see here, it's gone all the way down to their legs. So we're going to get that whole scene. And I think maybe in the background we might get some abstract shapes, maybe some clouds, kind of decide that later on, but I do, I will talk about that a little bit more later and how I structure it. So there's lighter bits of the background with darker bits of her, her shirt, for example. What I'm going to just talk about as well as a little bit of the drawing. As you can see, I have used a cotton bud to do a little bit of shading and this is just a trick that I've picked up because you can get some really softer tones on the face and just, I guess add in some shadows before you've even started painting. So it's just something, something interesting and I find it really helpful if you just want to get a little bit of shadow and a little bit of those really light and subtle tones on the face. Cotton bud works really well. So main thing I focused on is just getting in the facial details with a bit more, bit more care there because that's going to be the most important part, obviously with this portrait. So we're going to get started. And firstly, I'm going to be mixing up a mix of yellow ocher and a bit of carmine. Think I'd also add in a little bit of red in there as well, and really make sure that you clean your palette. So I'm quite guilty of this, and I almost never clean my palette because I paint predominantly landscapes day-to-day. So with portraits, it's really important with the skin tones. They have a nice translucent quality to it so you don't want anything else getting into the paints. So I'm just going to mix a little bit of calm on here. This is a pinkish, red and pop that in there. I'm just seeing kind of what it looks like at the moment. So that's looking all right. It kind of pinkish red color a bit more in there. Maybe a little bit more of this yellow ocher as well. Keep it fairly light. Looking at almost T like consistency. Don't want it to be too dark. What we can do is just essentially layer over the top. If we, if we think that it's too light. So It's really going to consist of a few different layers. And it's important as well, the paper that I'm using just to let you know that it is a 100 percent cotton watercolor paper, It's hot press, Saunders, Waterford. And when you're using a 100 percent cotton paper, you find that layering is very much possible. Using a cellulose paper. Portrait painting is little bit different. I find that when you're layering colors over each other, you have to be very deliberate and you have to try not to go over the same area too much. Otherwise it lives off the previous layer with a 100 percent cotton paper. You don't get that issue so often. So I find that once the color dries, it's takes a little bit of scrubbing to get it off. So that's just a little tip. And if you can get yourself some 100 percent hot pressed watercolor paper that really works for the present cost. So okay, I've got a bit of a color here. I think I'm just going to go into it and see what happens. So first things first I'm going to actually go over the entire face and maybe bit of the hair as well where the hair is going to be DACA. But I'm just going to getting some basic skin tones and also before I forget, I'll get in the hands as well. So Let's go ahead and drop that in. So I'm just going to do this. This is a flat brush, number 12 flat brush. And going really just color over the entire face. Not going to worry about any of these lots of bits of shadows. We can do a tiny bit of lifting lighter for that. But we'll go through that. Go around the eyes. In fact the eyes and not completely white or actually DACA. And I'm going to want to getting some little, little wash in the background as well, just to lighten this wash a bit for that purpose. So really just coloring in the entire face is just tell eyelid here, which can lead to getting kind of joins onto her hair like that. And this section here is we'll round. I did. So just going through doing that. One guy that and year as well here, getting in a little bit of her head. On this side again, I'm going to be going over a bunch of these in some darker paint later. So it's getting a neck like this. Join in on that. And you can see already the bit of shading I'm done with the pencil. That already helps. It's kind of not necessarily you can still go through and just add in bits and pieces in watercolor. But I do find this to really help. And what I also like to do at this stage is try to drop in some darker of pages, slightly darker. So I'm just adding a little bit more red into this mix and dropping it in, say on this side of the face here, very, very lightly just indicates some darker areas. And these areas are going to need to be darkened bit later as well, but a tiny bit of wet and wet does help. And get to some really nice soft looking affects doing it this way while the paper is still wet, so little bit around her neck, light sources coming in from the left side of her face. So you can see the shadow is cast. On the right side. It's kind of in the left frontal area of the face. So always keep in mind where you lot sources. And this area here is actually doc I just above the eye here. So I'm just going to talk a little bit like that. If F would be two of these paint here, just getting some pure water. The moment I'm just trying to blend glue and small dark and paint just took me out here. Underneath the hair there. And a little bit of an odd lead is also darker from the slide. And we had to tell. And I'm going to blend that over to this side of the eyelid just with some clean water. That and you'll notice here just also gets a little bit darker. The hair is that joins onto these sort of shadow on the right side of her face. So I'm just going to leave a bit of coloring there and see, you know, soft in these areas as well. Don't leave any hard edges here on the, on lead. And also he's software really important. And we can actually go through later and add in another layer on top. I do this quite often because I find just the layering adds more dimensionality to the painting. So, well, I cannot just like to add in some way don't too wet. And getting some details like these where I can but layering does help. Okay. Having a look here. Just rewet part of his face actually on this side and the nose. And it goes through Denise like that a little bit. This is all pretty much just done with my flat brush larger. Here is anyhow. Rewrite it again. Nice and neck. We're here. All right. Well, I can't I'm going to just get in some color for her hands as well. It's moon page down a bit. And same time that I've used for the face. Just get that in. Like that. Just put in some of her fingers showing through like that. I'm going to cut around it later on. And this is a hands here. Was just looking back at the reference picture as well. Right? And we can just add a little bit of darkness in some spots. And we really can just go over it later on anyway. Kay? Now what I wanna do is work a teeny bit on her here. And I'm going to grab some of these darker brown color and we might have to document lighter anyway. So this is just the raw amber. Got your Rhonda, and I'm going to mix that with some sepia has actually quite dark. So I just want to make sure that it's not about Tonkin off. Kind of a chestnut brown color. Maybe, maybe darker even. So. Always start off with quick quick layout on top like this, I'm using the flat brush and just try to follow the reference photos. See with Hey, comes in like that spirit of a fringe there. And I'll have to do this again later. I think in ten new documents is separation here, her Zarif and not just again, imply and that's separation to the back jointed on these more detailed litres going to make it come together that down if I come down like that and down the bottom, cutting around, it needs to be taught on the side. I think. Okay, that even use the round brush in areas to getting loose strands of hey Mike that print to want these to be more defined. Inch section there. That okay. And that'll do for now. I'll just giving them a little bit of the bottom part here as well. I'm going to need to go over the top and the dark colored lights wrong. Okay. So as I said before, the eyes aren't actually the white of the eyes on actually completely what they're actually DACA. And I'm going to get in this kind of pinkish color as well when eyes just give it a very quick wash, base, wash their hair, and just land a little bit. Just knew a lot to them, the skin tone down a tiny bit of that as well. Okay. And now I'm going to just work on her lips a little bit more. Loops are actually Docker if you haven't looked at the photo. And I'm going to make some little bit of red with some neutral tint. Neutral tint. Just to give a talk and kind of color. Just start out with some red for list. And notice the brush I'm using, it's got a really foreign to you that's important because we do want to shop at age 13. Yeah. I'm gonna go lots of list. And then below it going again. Never wash that. Getting that quantum leap. And I like to also just soft and around the edges. So just adding a little bit of water around the edges of the leaves and just solve the net to be not such a hot H. And say that's looking or k, or when she goes through and dock in bits and pieces a bit more later. But what I want to do is just now pick up some more of these red. And build up some more values in her face. So one of the things I noticed that the shadow needs to be emphasized more of these areas underneath and knows leads, for example, that needs to have a tiny bit more shatter on it as well. Okay, so I'm going to mix up that same kind of yellow ocher and carmine, red. It could chunk of that in here. And I'm going to do much just adding a little bit of neutral tint here in the corners. Well, we can start. I'm getting in some of these areas when I face in fact, erase here, he's quite doc just above the eyelid to the left and can see a nose pulled out from the side like that. So I'm going to just leave that. But get that bit of darkness in like that. And let's see if we can get some dot missing here as well, just on a rod eyelid area of the face. So just a little shadow underneath the eye as well. It's detainee be soft in these edge. Just very, very light like that. And it's good for the left eye as well. Just a little bit of darkness underneath them. I tiny bit like that. When it dries, you barely be able to tell. And some more on the inside of the eyelid and kind of carries across into the shatter that runs across a face. And I really want to make sure that this beautiful lot here and how AI is emphasized. So these were kinda join zone is a highlight on her eyelid and want to leave that in like that. So I want to just define the eyes a bit more. I'm going to go in and just define them did and some darkness into the corners here. There's two dot bunnies lift that up, a bit of that. And this one is, well, one of the eyelid K2 get like that. And a bit more darkness or someone that Ross on the face. I'm kind of just adding some more neutral tint in here needs to be darker. Not, it's really not dark enough. So this is just using some neutral tint added into the red that are mixed up that red and yellow and mix. And then just adding that in here. And my aim is just to finish it off around there, but just soften that edge nicely. So I just add in some water like that and courage that the land in the middle, there's this whole area is pretty, pretty dark. Side of the face. Getting that beat underneath the chin as well here. And it also blends upwards into hears the soft edge. So very soft edge. Some more water that she used the flat brush. Probably re-wet it actually, it's better if we do it this way. So that would just get more consistency, evenness and the blend. Okay. All right, so just some more darkness here to the neck. And then Luke, 20 beats. Darkness here. The mall darkness, the minivan name here. And really the rest of it. I think I'm going to just put some water in this section to get it to blend meters well, so we get some soft ages. That is hears will soften the stage and soft and this one here to make that I've left the IA little bit, lotsa just imply that M the log has catching on to it. Though. There are some dark areas that I'm just getting a beautiful color in that doc and coloring. Especially underneath sections here, for example. One have to redo it lightest stage. So we'll just layering and adding on more and more calm. And to view that you've got the rod kind of consistency. Great. What I want to do as well is I want to work and be on the clothing. I think that's just going to make the rest of the body pop out a bit more. Okay. I'm just going to work on a i's more. And I'm getting to that stage now where we can almost start adding in and extra details for the eyelashes. Eyebrows showing through there, which I might indicate is well, let me just get it a bit more color onto their lips. Actually, I don't think they dark enough. We didn't neutral tint and a bit of red. Just going to dark in these won't be in that. And again, just softening that edge. Nice soft edge there, that it just blends a bit more. And I'm actually going to go through later with a darker color to indicate some of the shadows and some areas of the nose as well. You just want to dock and in some places. So just putting a little bit of red unless sod if a nose like that, and then just lift out some color. I think that's too much, it's writing too much. And that just a bit of color there. And maybe on this side of the nose as well. They're very subtle. Just a tiny bit there. And there's also maybe here on the side of the nose just to indicate a very, very light shadow like that. Okay. Some skin smoothing out this left side of the face a bit more, putting in some water in this mix. And a tiny bit of that pinkish color that we've mixed up before. Okay. Let's work on our eyes a bit wall that's all coming together and getting a quick bit of darkness underneath the chin. Little bit of tau is they're soft and just soften these edges. Well. The soft in that. So often define the edges of the left side of face. Painting these little k. I'm just going to work on her eyes to define them. You're coloring there. You'd have darkness and also in here. Okay. So I can just get an eyebrow here just to quick indication that there's a guy. Barely tell. So what else we need to, to actually going with a bit of neutral tint. Probably three-quarters neutral tint and a quarter of this red really light wash of nature tent. And just see if we can outline some eyes. Beat us into the brush fairly dry. And I'm just going to can have on, they have to be very, very careful when this fiction. And as you can see, I'm holding the brush very close to the two, which allows me to detail Beta. Right. Okay. It's getting top area that I would adopt MR. running through the eyeliner that she's wearing is actually favorite Dhaka, which we can get into just working up slowly to that. And we'll do this iss Well, call it too. I think I'm just going to mix up a bit of green and brown and green time ingredient time around together and drop adding. Just a light wash. Then filled it out because well aligned. Just kidding a lot. Wash first and then you have color. Okay, great. And some docs now just the beauty of these neutral tint and just using pure and nutrient tend to think is a little bit of blue mixed in there as well. So looking at some of the dark areas in Australia here, just going to get hanging, smooth off that B going to fall down. Indication. And he kind of edge of the nose as well. One of whose baby just going to darken a bit like that. Actually some dogmas underneath and nose here as well, which kind of forms part of this area about the leap that just drop in a bit of pain. They're tiny bit more, I think underneath the eyes. This one as well. I'll wait for that to draw it. I'm going to just indicate a little bit more of a nostril on that side. Skin color running on this side of the nose as well. That dry brush, a little bit of dry brush and picking up some darker pigment. And I'm going to just indicate some loops. Darkness and may want to actually just go over this side of the face and give it a creek trough is just one already wet. This area denies him. Just try to exaggerate that shadow would be more. Your knees just trying to look at the reference picture in, got those really subtle tones in there. And I want to just add a bit of water to this area of a noise it's looking to just needs to be soft and tiny bit that area here suck in that age. Tiny bit of water that it looks better. 6. Paint a Ballerina: Part Two: What are you doing before was just working on some of these dark areas with neutral tint and go to good, quite a doc or really a coffee consistency. Neutral tint. And I'm walking that off on the, my new tau here so that I can go and kinda dry brushing some more details. That's to dock, to dock. Wipe off that brush a little bit and down. This color out. The goal is, I don't want to just go in and dropping the pigment again, these really harsh lines just want to feather it in because the style of this portrait at the moment, all these soft transitions which we want to just keep consistent. Okay, so let's work on that beautiful I hear that kind of eyeliner area. I can then that up it. And I can work on this all day really. Just slowly adding more and more detail. And you need to work at your own pace when you're doing poetry, it's, you know, I do some loose portraiture as well. But when you really wanting to get a likeness of the subject person that you're painting. You really need to take your time for this. Okay. More than just the eyeliner on and not actually dock and her eyes to read some more of that kind of greenish greenish, brown color. Some green. Drop that in there. That as well. So often. Soft in as well here. I'm just going to add a now again, just defining some little these docs and a face, shadows and things like that. I'll just work on getting some docs first name. So just to be like that, via the dogmas in here too. Just employing darkness underneath it. Yeah. This area of the neck as well just want to preserve that lot there. Latent loops need to be DACA still. Even each routine makes these red. And I'm going to go in and draw some more color into that loops. No one really knew the autumn, the toppling, the swanky kind of report on the ADA, the bottom loop. And then just gonna get some water and soft and it just let it spread into those areas. Soft in the ages of the leaps. And try letter B.com. Okay. Let's have a look at what else we can add. Maybe people adopt miss here. I just near it. And now it's true that very, very subtle. Something like that. There's actually some darkness underneath as well, which I do want to get in later. I'm just going to work with this neutral tint now. And I want to kick all that. She's out the way. So you only get one chance had doing the eyelashes. And so you really just want to make sure you get it wrong on the first go and look at the direction that they coming off from the top one. It's kind of coming down and then up, down, up slightly. But it almost can't see in the reference photo, you see the, the audio on us. So I'm going to get in some very dark neutral tint and just go ahead and get the online arena and secret getting a few lashes as well. Just like Luis. Very careful. And it kind of kinda wings, wings off an EN like that. The liners actually be because you might want to just kind of threw doing I'm doing here in just a bit more like that. And k and two is just add a few little lashes like these. And maybe coming up around this slide. I'm like that. And the bottom ones, they, they come off like, like these. So this is sort of come off the bottom just in these little and show you. So if you just sort of maybe run here and just add a new one, I'm going to just carry that on. We need is an indication. And then these ones on the right-hand side just go longer than the sod like that. Okay. Notice, good is all we'd like it to be, but then just make these other ones would be low as well like that. Okay. And go for the one on the left and see that it actually starts out sort of come out the side like this. So I'm going to just get that in there. Really around this area. You can't see out of sand what's going on. It's just double ACP, some eyeliner. And these eyelashes here. Oops. Good. Automobile. And I k. So looking all rights for the time being. Now I'm going to just work on the nostril mole, darken up this area. It's gone down a bit too far off. Just write this section to begin. Repeated and paint soft in that section of the K and the lips as well, just those separations and also the loo. And B and the bottom of the league, he has some darkness which I'll need to getting some trauma that now that it's sharp shadow. That would be the bifan, the causing of the lips mole. Okay, in this corner, the loops year starting to use some new dry brush strokes as well. And this is kinda help to just indicate also some of these new here isn't going to select that. And I don't want to, don't want to ever do it. Just get some the pupils in using that same, same round brush, it's number four round brush. Dry it off a bit. And soft. Soft. And again, I kind of just blending with the eye. The eyebrows as well. This one here just a little bit. Something like that. The behind a hair. Okay. So let's have a look at E and L. That's looking all right. I'm actually going to start getting some colors for clothes. And really it's just going to be using some neutral tint of sepia mixed in with that and a bit of ultramarine blue to get a three.com. And this is going to contrast a little bit with the skin. So it's very doc reference photo. So I'm just getting the speaking I have around that I think what I'll do is just getting a general Shape and then some dry brush strokes on top, lighter on the Cola. Who's on a b2, and so on. We're just using the same flat brushes is actually a three-quarter inch flat brush, but you can use the number 12 as well. For this. Just do the ending. Okay? I'm gonna go down, wins. He cut around bits and pieces. But the main part is really just want to get to see quite quickly. And really I like to just getting some corner. It's almost like an abstract MOOC to the clothing's and they're not all completely and e tau and anything, everything like that. So let me go a little bit of lotsa that still blending. I'm going to cut around the hands. Come down here. K. And the slide. Well, it's kinda nice plot. This. Again, just enumerated cutting around the hands. The k, Again, the automorphism, Leah Todd. So just just draw them on one guy. That okay. All right. And nothing really for the bottom one, I'll do lighters, just get a very light gray color in. Okay. So I'm going to let the sole dry and lighter. What I'll do is just getting some bits and pieces of Dhaka colors and some dry brush running through it. It's really up to you. You can even drop in some colors here if you want as well. Let it do its, Let it do its thing. You might end up with an interesting book. I will also now just focus a bit more on the details of her face. Again, just trying to get in some little light washes of color. And for the lips, I just want to get in a light wash of common over the top. Just in this section as well. That softening the edges. More darkening. Actually dock and at least some of these neutral tint mixed with some of that brown sepia and neutral tint. She uses smaller flat brush in some parts of that. Really try to play any strike. Two. Main thing I wanted to do as well is just imply maybe a lot on the side of the head and left side, the top. And that's going to consume more strands off, coming off the side. Doc and misbehave you can relate to. Some more strands coming off through the back end. That really bit more darkness. This in he tells me to be negative. Negative painting. And down neck as well here. This needs to be darker. That just kinda try exaggerate this back and I'm missing anything. Make disputed, Hey, come down wall. We're going to here. And then maybe more smallest strings around this area. Darkness in the back section. That needs to be to occur, coming up like that. And really using this kind of darkness here to create a sharp edge between the neck and head. Hey, but and some of them look at her hands. They don't really need too much work. I just need to indicate the fingers a bit more. So k is some small details like that. And one on the left, it's just darkening the bottom and not use this flat brush to indicate just a bit of darkness there. It just makes it a bit of red with the neutral tint rated each retains darkness. Really quite lot. Still. That so simple shadow. And we'll do it for this one as well. I do the top missing here. And now the thing is here. Soft and actually the edges. And some clean water. And just checking out draw this areas. We can go in with a bit of dry brush now just to getting some more details on the clothes. So around the neck, Amancio getting a few Lou Who should have done that. It's an accident. See if I can get rid of that.com. Sometimes these things happen. It's lucky it was in a place where it's already fairly dark. So I don't need to worry. Okay. So I'm just going to pick up some neutral tint quite dark and just pop it in like this. It's almost dry brush just indicating some details in the clothing and didn't do it everywhere, just in some areas. And kind of leaky just indicate the color is important. And there's some areas of her shirt is well, just a bit. Yeah. That little folds and things here. To move the arrows here. Just to kind of outline as well. Kay? Day two to maybe some folds in the section will be quite deliberate and maybe not tight too much time in doing this. I'm just using it to help draw some boundaries in between the clothing, items, leaves and things like that. Okay. Well actually give this another wash of just the clothing. Thinking too lucky should be darker and have a few other bits and pieces in it. I think what I'm gonna do is just start work in the background model, go back into, into some of the details later. But I'm picking up a bit of just a bit of clean water and I'm going to do her legs in a kind of little bit of this neutral tint color, very light neutral tint color maybe with a tiny bit of red and extinct. So drop that in like that has to be lotsa such as the greyish coloured, to be honest. Okay, that's great. Yeah, this side now. And just want to also get some darkness. And we do shadows kinda running on the outer edges. That's the beauty of waiting wet work like that. Years. Well, just let that kind of landing a bit. Just a tiny get that. Okay, that should do the trick. And I'm going to go work on the background now. 7. Paint a Ballerina: Part Three: The background color, I'm actually going to have some kind of blue streaks. Maybe I'm thinking of having some interesting kinds of effects going on. I want to use the flat brush or large flat brush because I feel this is going to helped me sort of color around the head a bit more. The round brushes also going to be helpful for just getting in some nice, softer shapes and maybe some cloud shapes or something like that. And abstract cloud shapes going on in the background. So I'm going to pick up some cobalt blue cerulean. And I want to make this background pretty dark, especially around the areas of the face because that's going to help that to pop it out more. So it's going to be a mixture of a lot of different colors. I love using different colors for the background, and she had a lot of fun doing this. So let's start off with the blue first. Around here. Maybe be neutral tint running through here. We can get in a bit of sepia to doesn't have to all be done One sec, one move when you can actually go through and relay or at which is what I tend to do as well. So just popping in a bit of this. But with this blue in the top section, might even grab a new green at that inky like a turquoise color. Here, psi. This section is, we're going to be careful with the Harry's. Just cut around it. But also you can have some softer edges so that it doesn't look too harsh. And the way you do that is really just pick up a muted clean water. Moves. A bit of painting, they're just soft in an H here there is too much pain in this paintbrush. Use a flat brush, soften that edge like that, can even use it for me or get in there to blend it around a little bit. I do like this turquoise color that I mixed up leeches to be blue and green things together. So go ahead and just have a play around. And we can get some lighter areas, like here, for example. Some lighter blue areas and then just blend and have a bit of fun with these shapes. I'm going to use the flat brush to cut around her face with this area because I just don't want it to upset the Size of the face and we'll go in. I'm going to make this pretty dark and cut around the head like that. And just to be provided. So here we add eyelashes, little bit of that, little bit of blending. And some neutral tint again with the spot here and cut around and face. Okay. Oh, here. Come on. Just kind of lines on here. Yeah. Here. Vary it up a lot. And dark areas. Round brush again. Let's pick up a bit of purple with purple and my palate. Then what kind of Publicis shrink. Okay. And do you think some more neutral tint running through here? It would be nice. Darken up this area. The mall and these kind of Turkey, we see cholera is interesting. I'm going to play around with these a bit more like that. Kind of side gated, some large brushstrokes. That and just this area with her hair. I also want to pay bit more tension and just get some darker colors running through. But just be very careful with the speed. Then. You just leave it like that. Coming around. Here's o.com, leaving anatomy of the head. And think that's more cobalt blue in here. Just to be more credible. Cutting around the EF, continually just adjusting and seeing whether it looks right over there, I need to change up unbeaten on it, so everything kind of look. Okay, Great. Now that said the security draw them, talk but a fun with the backgrounds that I like to do. Sometimes go over things again, then just softens everything up on. But you can do what you feel works. Like having some kind of contrast between some lat and dot. He is just going over the top like that. Cutting around mankind around. The logic brushstrokes. We do is also just getting more darkness around the lakes. Now that we've got screen to draw them out more. Okay. Some blue here to mint. Green. That turquoise. With this whole papers that it draws quite quickly. So you need to get what you need to get done in the background faster than you would normally with some hot press, cold press. I mean, hey, let's just drop in some Whoo hear bits and pieces of drawing that we can just rewrite it again. Little bit of darkness here. Stand back and have a look as well. Until the signs and the sizing of the paper's gone funny on the edges. Sometimes when you keep watercolor paper for too long, That's what happens. Some more neutral tint. Be more of this blue. This section. Cutting around and more neutral tint thinking this area. Okay, So everything has pretty much dried from the last wash and I'm going to pretty good position really. So just leave it as it is at the moment. But what I wanna do is add in a few finishing touches. I think that it would just for me anyway, would just bring everything together. And firstly, I'm just wanting to work on the face a little bit more. And I'm thinking I might just add in a little pink wash that goes over the top. So we're going to pick up some, a bit of red paint, maybe just work on the eyes a little bit more. And also just dark and the hands with a bit of that pink paint, bit of darkness for the clothing again. And then I'll rework the background. I think that should be good to go. So this is just the finishing touch stage and it's option women you able to just leave it as it is. Some people prefer to skip this stage, but I just want to show you as well. I guess what I would do in some of these situations, not always, but I do feel that I could add another layer on, just change it up a little bit and see what happens. I'm just mixing up a little bit of pink first on the palate. And before I do just going to clean this area of the palate and bit because there is some blue paint in there to get on. So just wipe that off quickly. Pick up a little bit of red paint. This is pirated. Okay, and just dilute it so that it turns into this really nice pinkish sort of color. And before I used some carmine, but this is just pile on red. So I'm hoping layering over the top will give this an extra sense of dimensionality. We'll give it a try and see what happens. So I'm going to be going over pretty much everything. So drop that into the face like that using a normal flat brush. And I'm really trying not to touch on to anything too much. So just giving it a wash over. Cut around the eyes. Quick wash. So okay. Also on the ear. Like that. Much over the entire face now that that layer has dried from before, the great thing is it's not going to upset that previous layer that we have in there. Hopefully not anyway. We don't touch it too much, you're fine. There's something like that. And let's have a quick look at it a little bit here. And now we'll just work on the same thing. We'll just drop a bit of this same paint into the hands of just moved the painting up a little bit so you can see what I'm doing. And this is all I'm doing is just adding a bit of this pink paint into the hands. Really light wash, sort of tea consistency like that. And bring that across to the other hand as well. I'm doing this because I just feel that it needs a bit more substance to that, a little bit more depth. Okay. So they're having a look over and that looks on the right, just that quick glaze seems to have helped out a bit. I don't think I want to go in a darker than that. So now what I want to do is I'm just dropping a bit of extra darkness, maybe a bit of a purplish color. So we can mix up a bit of blue, blue with the red. And basically just dropping little new areas of darkness and underneath the eye here, here as well. And when I'm really overdo it just a little bit. In fact, even that's probably doing it. And now once this dries you here, they're going to be able to tell just a tiny bit of darkness there. And this just allows you again to work on some very, very subtle tones in the face. That's often out, that shadow, softer now, that shadow underneath the lip as well. Okay. Another thing is this shadow underneath the chin would be emphasized and little bit for knowing the reference picture is quite old. But here's my painting. I really don't want to create too harsh of a shadow running across this area of her face. Just want to keep it quite light. That can pick up my flat brush. It's a smaller flat brushes. Well, and what I'm going to do is just get a bit more of that red, that red diamond it down. And just soften this edge here as well. So that this blending going on here, very soft edge like that. When any harsh lines on the face. A fine, especially with them female portraits like these. They just tend to look better with software sort of lines and not to all of these changes. So it's looking all right. And now there's even a bit of her eyebrow behind that thing shall no color. Miss with just leave it like that. I'm looking at EA is tiny bit of darkness actually, um, talk it. Just mixing up a bit of paint on the palette and even about what color it is. I'm adding some dark missing here as well. And that will just bring out these lotta areas on the EMO. When you do that. Read, don't want to ever do it. Symptom is edge here as well. Okay. Then I'm just going to look at her eyes again and think, what can I do to just improve it a little bit and add a little bit of color into the eye and somewhat in line work as well. So little, little brush. And I'll zoom in on the camera so you can have a look as well. Working quite closely now. We can see maybe we can talk and the speed of the eyelash. A comment. Whoever these to be here. Again, the size and the eyelashes on the left-hand side. That dot and this here as well. And that needs to be 10.com. 3d noise is touching any area of the eye like that. Here. You can just giving them medication That's shattered, blue shadows on the face. Then middle kind of touch ups. Some more of that red mist, put a big mall to form just as soft age. Really. Why? And this can even pick up a very small, very small round brush if you've got one. And so I think this is a number 1, number 1 round brush. And that will help you also getting the small details of and using the same round brush the entire time. So just make sure you've got a really fine tip there. Then it can get close to it. C became them is emphasize. The eyelashes teeny bit. You'll be so careful with this because you don't want to do it. Defines some pHs around the eye is why lash here as well. Which is going to have this on people like that. Connect them on me, sort of play around with these DMUs. Well, but I'm actually quite happy with how that one looks. Once it starts looking all right. You run the risk of missing it up if you play around too much. I just want to get a bit more darkness going through the top area of the wire. Lead. You. Here is uneasy. I just very quickly to strengthen the nostril. Either a bit. That is almost dry now, so I'm good thing is that your brushstrokes have a soft few to you. Using this dry brush technique. To just indicate it's a details and darkness here and then loops as well. It is dry brush, brush, all such soft and then H there. Just touching that softness. Manet, pick up tiny bit of that RED, go over the top and can this very thin wash? Wash to complete it? Okay. Great. Ground. What else can we just trying to add few more lashes to that. I then and I'm thinking it needs a teeny bit of darkness as well. Again, just emphasizing that air in top of the eye. It is on the top there. So darkened up the area. Be too much. Just a little bit. You guys should really talk and he had to leave the hay or here to red, just make sure you darken that down enough. So looking at how it is at the moment, I'm going to go over another third wash, or many literal lot who had refused and very light wash of red. And I'm going to color the entire painting one small like this. Soften down all the details. As long as you don't touch it all too much, you'll be fine just to touch here and there. That the hands as well, going back to the hands and dock and the heads. Just the middle here so that it matches what is close to the skin tone of the face. And remember it always dries lighter, so often. Need to compensate for that. Okay. All right. I think that was a good idea. It does look a bit more, little bit more depth to the tones of the face. Now, we can go even one step further and add in a very, very light wash to the eyes. Because do you think they'd just looking a bit too wide to 90 area and I'm just adding just a little bit of water in here that so it's really just gray, gray like that. So have a look at the pupils as well. Maybe a tiny bit of dry brush. Pupils. Just a little bit of debt in the end. That one as well. Can barely tell you that green again. That green just dropped a lot. Quite happy with how Hae has turned out. The only thing I can think of doing is adding some, a few darker strokes into, hey, so let's grab a little bit of brown on the palate bit of sepia, DACA sepia. And I'm only going to do this plan fairly adding few strands because I'm quite happy with how it looks at the moment these sort of lay and looks just a teeny bit more awesome. Dog2 drugs in some areas of thing, cool. And held a bit. Be very light handed with this. And the great thing using this flat brush as well is that it will mimic the way the hair grows the strands without you having to painting all the little strands yourself. So that's why I'm actually using this brush. It makes things a lot easier for you. Okay? You don't have to paint in each individual bit of hay that comes across the face. Strands coming up here. We've got two daughter strands. I mean, put that in that game a little bit with the background. I'm going to go over the background once small two hands and comparing that with the face as well as around the same. Oh, that's good to draw eyes anyway. Okay. So when I do the background one more time, go over the entire background. Because I think I could just make it a little bit darker so that her face pops out a bit more. So I'm gonna go grab myself, that round brush and also the couple of the flat brushes, I'm going to redo it. So I loved this area here where you've got bits of lighter pigments, but I want to darken this area a bit more and we'll see what happens, especially the side of her face. I want to darken that a bit. So just grabbing some water from clean water and I'm picking up some blue. And actually first before I do the background, I might go into clothes and TACC in it a bit. First case, so what I'll do is just pick up some of that neutral tint. Moving a neutral tint, drop that in. And let's get an herb when there's, we'll do purple and maybe a tiny bit of red in there. Okay. And going to just drop that into the clothes like that. Just with a flat round brush. Sorry. Going over the top of everything again. Grant here. Darkening things up. Ted Cruz, I just think it's looking a bit weak before. And also I'm hoping this will now mitigating some wet on wet some dog has spots on her clothing as well. That's still preserved beautifully background, wash. Cut around the fingers. Really important to preserve the life there. Go. Keeping that a lot. Okay, bit more neutral tint in here. All the clothing. That oops. Going to be 25. But that's all right. Okay. So just almost rewetting this entire area, that's just think of it in that way. And from here what I can now do is adding little bit of color in the areas. So I'm picking up some purple and stop drop below that in their bid of neutral tint, we can drop that into parts of the clothes that let it do its think. I think there needs to be more darkness as well. Just underneath here with the hands. I think I've computer the board in this section of the hands, but this aura, but this is just going to help them to stick out a little bit more. That just wanted to leave dad. He'd gone to File k. Bits and pieces. That can help. Toughness as well. Trying to keep this pretty loose as well. Okay. Let's have a quick look. Now bed. And give that a quick triumph. And now I'm going to just glaze over the entire background once again. So starting off at the top, I'm very happy with how that section looks on showing up to alter that much. But I'm going to really rewet some of these section here, pretty much the entire section. And adding some more collars running through. This will inevitably also make the previous layer softer because we've added some water. So I want to soften this area, but I don't want to darken it too much around this side, only around here, I think that could benefit. And around the face would be great too. So the small flat brush, again, I'm going to grab some neutral tint. And a tiny bit of green and a bit of cobalt blue. And what I wanna do is just get a bit more darkness around the face. And let's have a look here. Right? Going to be so careful with the spot. Zoom in so you can have a look. And just going through and outline in this section that face once again, round off that tune a little bit more and it was just a little bit too pointed in the previous wash. This is the most stressful part to cut around the face. Is it's so obvious in early that when it got, when we go up to around here, I just want to leave this area a bit lot. And the reason why is that the eyelashes here a quiet dark. And so by preserving some of these lighter color here on the paper, even if you live data beautiful color. That's just going to make the eyelashes stick out a bit more with moral Venus. And I kinda think ahead as well. This wash is almost dry. I'm going to dock and be just as little wash on top here. Just a hand pumps at the mole K and the feather off positive as well. It really pays to look at it from a distance to see whether it makes sense or not to I'm softening some of these edges so that they just blend in a bit more with the hair. But I do like having some of these sharper parts as well, like here and here. Combination of both. This makes it look more interesting. Can I think there's darkness has really helped make things pop a bit more. We can really go darker. Sometimes it's hard to tell because your paint. Always draw it a bit lighter. So that looks all right for me. And I'm going to do is just carry this down the page. This has to be reweighted. Ted. Left-hand side just we went that carry this down the page like this. And I'm going to add in a bit of neutral team here. And a beautiful, smoothly in blue here. I just wanted to have a bit of darkness. The horse's leg just to help it stand out a bit to mole. But early in some areas, I want to do it in Lean tie area. You need to have combinations of lights and Doc. That's going to make it a lot more interesting to him. Either off this section would be con, constantly swapping between the flat brush and the flat brush in the round brush. I'm going to add in a bit of pink, EA, pink that we give warmth. And it will come down and fade into these DACA Lu down the bottom like that. And just make sure that blended Pete Earley see a two. And no one can just soften a bit of this area too. So don't feel like you just need to cut around everything. We do. A soft edge like that and can look interesting as well. Just any kind of variation, to be honest with you, helps with your painting. K, b to the bottom. I do want to dark and more and have some pink and a few other ways you launch. A police kind of color running through here. Just rewet this section a bit. And just dropping some paints wet on wet. Cut around. We need to cut around. Darkening around the bottom is well, people want darkness here like that. Thinking we had lakes. Might talk in just a little bit. This will Lada. I'm going to use a flat brush and just a beautiful orange tint wash of gray, basically that I'll have left on the palette. Just drop that in. Docket, darken it down a little bit because now when I'm comparing it to the rest of the painting, It's just standing up way too much. I don't want that to be a huge focus in the painting. Detract from everything else. That okay? And remember to draw pins. Sloppy dog pigments in the corners. Edges here. Failure that even. Just picking out some colors on the palette, just jump right in here. Where else did? Because shadows here like that, like that. Helping them blend in even to the background, alleviate some areas that's fine. That great. The left, the right-hand side now I just want to soften up a bit in areas too. So just go over some of the some of these in just normal water. Clean water. Right? Mainly these area down the bottom. Blue. Carry that down. Teeny bit of red running through here as well. K can be around a body and get down to the bottom section. Neutral tint. The green even if you want through here in red. And more neutral tint that. And just finish that off. And I would say that's finished. 8. Female Portrait 1: Light Areas: Okay, I'm going to be getting started on this one here. And I'm going to stop by using a smaller flat brush. This is a number 12, that brush. And what I'll be doing is just mixing up a nice lot and mix some yellow ocher. Just a bit of yellow ocher. Going to get a bit of mine as well. It's kind of a pinkish red and also a tiny bit of this part we will read as well. Okay, All right, I think I'm going to have beat when we yellow in there. I've just pink as well to begin with. And then we can add more colors and layer over the top light up, but just want to get in a noise base wash. And while that's the mixed up, I'm actually going to get my little round brush ready. This is a number four round brush because I know I'm probably going to need to go in and adding a few colors and waited to wit afterwards. So just get that one ready on the side and not go with more yellow in 20 bit more yellow. Okay. One was looking at a kind of tea like consistency. Just put enough to cover basically old the face area where the skis. So okay. That looks all right. I'm going to just go in and give it a shot. So just over the top, like that. And it's looking good. This is a bit of arches hot press paper. I'm really use this paper before we have used it once a long time ago, but that was more for an experiment. So I'm just cutting around the eyes and also just getting going in around the top here with the hair is that's important because, hey, so that cuts across areas of the skin as well. So we want to just get that base color in like that. And just soft enough that Every here we wanted to sort of creep round. Thing I've forgotten to do is just keep this paper on a bit of a slot. So should really do this before head. Pop it onto your board. Like that. It's just going to make it a bit easier to run down. Down. Just gonna go over again. All these areas like that. Given a nice smooth wash running through, cut around the eyes. Again, getting a bit more color on this side of the head. And then not forgetting the ER to get that in like that. And moves this wash down. We'll go over the lips to MIT and carry these down into the neck. Right, Clint? Normally I use Saunders Waterford smooth for portraits. This is quite nice as well. It's actually a bit brighter than the solid is. You see how it turns out near the end. That's looking good. And just pick these pretty quickly. Try to be funny. Sometimes beats of it. Just try faster than other parts of the painting. So go ahead and become a little bit of neutral tint and just mixing that in with the red. And we've had before. And what this is going to do is just dock and that a bit. And essentially allow me to getting some shadows across a face on that side. So just some dark areas around the side of the face. We can use a bit of blue in there as well. And drop that in way down to wit. So to start us off this shutter around the chin and moves up here and then mocked it out before with the pencils. That helps. And just getting in some of these DACA areas. And to just work with them to wit some of it's already draw it, believe it or not. Especially this area here. Maybe year is. Go ahead and just put in some small details for EA. But she kinda need to go through this area again, it's way too lots. The glaze over that. Maybe it later, but just a bit of detail there. To start off with. Okay. And just want to carry some of these darkness town and next to any kind of dark near the base, but move a little bit of light coming in from the bottom like that too. So just let it just let it fade in very nicely like these stones, some loose weight on MIT, come up and running through. Very subtle. Is that little shadow underneath the thought I would try to get that in. I have to lift up the paint as well. This is starting to creeping too far. More likings. I'm just going to go through this delta t to paint like that. Okay. So I'm gonna look around. There's anything else we need to do. Quiet. I want to gain some of her hair while it's early. And I'm actually going to start off by picking up a bit of around just the beauty of these. Nba got here in the palette. Mixing some of these CPR as well to maybe a new bit of ultramarine that just wanna get a light wash. Colorful I hate to begin with, and I'm using this flat brush. And it's important is that we just want to keep it fairly lots and follow the reference photo, just dictating some of these strokes of hay. Say, instead of look, sort of comes down around the kids in her eyes. And we've got to put that comes around to a nose here. Like that. It's getting a few strokes in that trauma imply the strands also loose strands here and they actually runs across Ri sticks atlas saw it like that. I have to detail that more light. Getting some more of a Hey, there's a logic to it that just comes down kind of wavy of B, cuts across I, over the side like that. So get that beating the color for that tiny bit of indication. Then a new line running across the images should have just soft and out early. And, but I think what we can do later is going missing DACA Cabela's and fix that up. Just go over the top so it's not as visible. Work onto some of the hair on the side. T2 runs across through to the back like these coding earlier. I'm just gonna see if I can soften this edge would be adding a tiny bit of red to that section. Well, just underneath here. And grabbing at V2 of pink, the light wash pink, I'm going to go up the entire face. Just give it another layer of pink. Being pretty quick here, I don't want to upset any of the previous liaise too much. Liftoff for the few places. Highlights. Here on the cheek. That's here. I'm going to let that dry. And 12 work and it's on a i's. So just going to be picking up these red and yellow ocher. Wash that down into very light mix first. And dropping it in that column. Here is to get the eyes. You can't get more than we can even put in some the eyebrows syndication. I mean, that's just work on the eye. So this needs to be Dhaka is the outline of the eye. So just adding a bit of that common folder and this will hear that. And to the left-hand side, the same sort of thing, just defining the edges of the eyes. A bit more like that. And what's important is that I'm leaving a little bit of space here as well to get that bottom part of the eye leading, It's very odd to see, but it's slightly lighter. And just want to make sure you have that means so the eyelashes actually connect onto this bottom part. Here. Very important. Okay, Let's move colorful the eyes in a go with some greens, little bit of green and maybe brown mix together. So light wash to start off with. Trumped anything like that. Little highlight on the eye. We should paint around. But at the end of the day, if you don't get that highlighting, we can always go through often with wash. I tend to do that in most cases anyway. So just a very light wash of green and brown. Photo reference is black and wants and what can actually tell what color her eyes. Ah, so I'm just guessing. And we're waiting for this section to draw at the bottom. This needs to be reworked APHAB afterwards to indicate that area of the shadow. A lot more because at the moment it just looks too abstract and we can't see the outline of the face properly. 9. Female Portrait 1: Dark Areas: I've given this a really quick dry off now and I want to start working on the lips and nose that area because I haven't really gone into it yet. And what I'm gonna do is I'm just going to be picking up a, going to wash this reddish color, reddish yellow mixed together the common as well, and a bit of neutral tint to document down. So I'm going to top lip and just get inhibited color through here. And drag that Russia veto actually. Get a bit more control here. I'm just going to dock in that top lip down. Being careful to follow the sort of outline. The pencil. Good. And now we'll give it the bottom one, which is a little bit lotsa will takes a bit of Lockheed reflecting off, but you know what, we can get that even some quash later on. So it's just getting the general shape leaps out. And I'm going to soften the edges and water. Just like that. Little bit of softening. This always makes it look a bit better. So the pH is completely stuck on. And in the case of null is true. I have to redo this lighter color, but this one indication like that. It's going to help and it's actually kind of shedder running across. It knows which starts off the ground here, goes around, it must rule and carries up eyebrow like that. So just a bit of color for that. And feet of water, which I'm going to just soften off some of these edges like these can make the song. To soften them often bit. Guy. Here's, here's just an altar to be honest, is going down more. We just paint the edge of her nose here, something like that. Okay. I think I'm going to just work a beat into her eyes, more darkness, slowly building up that detail. Tiny bit of red in there and then also a little shadow underneath I hear some pulp testing like that. Soft in NEH head around these sodded lifts. And I think we're going to also move tiny dot miss something just a little bit. And soft in that off too. And notice that that's what you want. Most of the shadows we're going to want the kind of boss off of the face because the light source is coming in from the left-hand side. Okay. And it getting them beneath her eyebrow? Just in some dry brush like this. Some very careful that it's an indication. Now to just work on some of the dark areas. Most rule MOOC them that indication like that. And edge of the nostril like these shape that a mole is actually a shadow right underneath the nostril as well, which I will getting drawn. But really what I'm trying to do here is just defined in those a bit better minute details. And I'm just using some neutral, neutral tint mixed with a bit of the red for these. So I'm doing lips. I'm just adding some darkness on the edges of loops. And then the pontine centers. Well, just did. Getting some of those talk of how to use at the same time. Goes up, comes down to the corner. And of course we put these a 100 shadow underneath the lip. I'm going to get in. Well, just do it. It's the nature of tint. Darken that down slot. Be glad. I mean, it is a, it is a shop Chateau set on the sod. It softens out and beat, soften that, that wrought side of that shadow. And we feed that will be enough once it's dried. And then we want to carry that up like that mole to the left-hand side. Notice I've left a little bit of light just bouncing off that labor. Do need to shape the shape the lips. A big mall. Did. They just don't look quite right and should be thicker, especially the top lips. So picking up a bit of carmine, tiny bit of calm and move. This pi will read, mixing them together and get some kind of in-between color. And and work on this lip again. Getting bigger, the top k should come up and come down there. In that area. Also dock in the bottom part of the loop. Maybe. I'm softening these edges as well. Just clean water to soften up the edges of the lips. And to MOOC, want smooth mousse, smudge that wouldn't be 25. So let me just fix that up and lift off some of these paint. Functionally. When I went back and say this is tau, I extend be picked up some paint that was already on there. Okay. I don't have to do I want to have to go over the Thai thing, engages with the quick wash. Later on. I might just go ahead and get the shadowing while we can then flat brush. I can get it in. Maybe we'll begin with the round brush. And I'm more kind of subtle. Line first. So we just get the bottom of the chin here. That's right here. And then goes up that face here. And and it's pretty much lit bit more darkness. And the side using some neutral tint mixed with a bit of that red. That I want to do is just soften this edge or her face with clean water. So that's shutter lens better. Like that. Needs to be darker underneath here as well. So here is a nice just to me that shattered be softer than this. Yeah. Okay. Glazes. I like that. So I'm gonna call it running through that kind of indication of her face and jaw line as well, which is important. Just running through here just a little bit of wet-on-wet work, which we might be able to emphasize and later on anyway. Okay, So I'm going to just focus a bit more now, eyes now. So you're getting some neutral tint. And a bit of the red. Daga called a neutral tint because I want to work on some of her eyelashes and shadows, things like that. Okay. I don't want to just quickly do is getting some map. Before I go into a hand later, just a bit more. Color running through these areas is not complete. White through here. Okay. So some neutral tint mixed with a bit of the red. Okay. So the one on the left and the way I'm holding the brush very close to the end. And this is just kinda help me to work on it a bit more detailed on the outline. With these, I'm just going to go in and get an indication of the Patoka. Aye. Okay. And then auto auto for odds and pretty much just eyelashes. And we don't want to do is get some dark eyelashes running through some mixing up some pretty dark neutral tint for these drop anything like that. I'm getting a few lashes. Joining on. Mislead outlaw in that area again, lashes coming off. You didn't get one chance to do this. So just be careful listening and I will come on right now. And nutrient teens. This is actually on the lens across his back like that. Getting this top part of it, I might be worthwhile switching to a smaller brush. I've got a little round brush here. Probably do the true Beta. I always forget that I've got this brush. Hey, we finished on some eyelashes and the boiling pot. More darkness. Here. Draw out. While I'm at it. Time to emphasize some other dark areas and have faced, um, no, it's true. And it probably good to just draw brush and so on. So just walk your brush on the cloth that you have. And then you can go ahead and try to add in some dark areas like this. Here's a shadow under here as well. Let me see if I can just imply that nature tainted and some red coats kind of around here, starts off here. And goes underneath the nose like that. Okay. So so much to really shocked shattered. He leave it like this or we can soften the edge, which is what I think up to you just to soften the edges like this. Okay. Thing is that shadow underneath the chin? That leaves me just documented bit more around here. Okay. I'm still not happy with her lips is just something about them that doesn't look quite right to me. I'm going to reshape and begin. Kb. More darkness of the loop is 0. Lift. Then it's actually dock and near the bottom of the top lip, just around the dock in the corners here. Go up even more. Okay. We'll just leave that. Were these the moment? I do want to just add another detail to the eyes, the edges of her eyes. And I cotton that what is, what is cool about that rain coat around the edge of the eyes. I just wanted to talk in that molecule, the corona. Getting around that which you find will be quite careful with these loops. I'll see, you know, careful enough. That's not one or the other one now. Okay, great. Another thing we wanna do is just directly inside of the eyes, a little bit. Red and gray as well, especially to the corner of the psi heres. I want to actually watch as well allied doc and that one down in water. We also got some dark areas here, just a little bit like that. Lifts on. Now, you've done this here in the corner. Sort of goes up to the eyelashes and the shadow cast by the eyelashes and actually running again. Thank you Charles. To see if I can work on that, I be more engaged in the ground. That K. See what else we have to add, maybe give it a shadow underneath the eye. The eye here and corner. Darken some areas. Lips darken her eyes a little bit more as well, just to lot more green wash. And this one down. We're going to utilize more. I'm going to start to getting some of the edges to make it.com. And for that I'm going to mix up some CPR and a neutral tint. And essentially it CBR and neutral teens going to go in and try to get in some of the strands just running across the face. So we've got a big key and let me just try that. Okay. That one's going to be too far down, but nothing much I could do that. Do here is we're just runs like that. New strands. You use the round brush for this, this is going to work better. Actually shapes the side of the face. So the flat brush again, the important thing is I just want to leave some of that previous wash on there, especially near the side and just kind of areas around the solid to indicate a bit of light bouncing off. So don't go over the whole thing. Coming off the side like that. That will kind of come together here. Coming off the back. And this is the kind of dark hysteria. Back area. On the nice round brush. A few strands there. More work on our eyes. 10. Female Portrait 1: Background: Darkness into here. What we're going to go into. And just to close now and getting this dog collars, just some neutral tint picked up. Coming around. Look, here. It is. This here. So that's really all I wanted to do at this stage. So we're going to be more on an AWS now. I just want to show just talking about these sort of area and, and kinda strands of hay coming down. Color is used just to emphasize the shutter get sucked in this. Tiny bit of brown on the back of the head. Just me, an indication of some of the hay coming out as well that are going to get that early on. Just having a look at kind of what else. I can add in here. To prove. The poetry. Dry brush strokes here to indicate a cola. Something simple like that. The heirs of the shoulder as well. Bpm. And this one hears well, has that been just darken off the section on this side because the implied shadow. So maybe more darkness right-hand side. It's in a little bit of blue as well. They're going to go and just getting eras of a face just around the ears and the face cut around and really just work on getting a bit of outline of the face. So mixing up a neutral tint and a bit of ultramarine blue. Not actually start off with the biggest ruling blew up the top here. The main area we want to focus on is just around her face here. That needs to be pretty dark because I don't want to get just the face to pop out a bit more. So I'll start around here. Let's have a look and sought to a smaller, smaller flat brush. Just cut around with the darker color that you've got. For me. It's just a beautiful neutral tint mixed with blue. Like that. Again. Then in again here. Okay. Just getting some colors like that. Running through the sides of venting as well. You're cutting around. But around the bottom one I'm going to just start blending, getting into week, seeing that neutral tint ocean marine here with some of this area. And encourage it to mix together. These MOOC in this area of the face would be that this author, the bottom. The larger brushes going to help. So to swap it over and just getting in some of this color, coming around and do the hairs will remain down. Mixing around. That's a quick try. Some finishing touches now. Get the hay and daka. Daka and the highest. So we can almost just encouraging you to blend the beats that initially they sort of left side of the like that. Okay. Hi, just giving a draw a bit of an outline. Just a connected onto this side of her face. Something like that. Drive it more. So just a few little brush strokes like these. In case that done the trick. That can an earring data. And getting some more strokes. Branching out to the back. Oops, to talk. Like this. Hi. Just as well. Needs to be darker. The hands coming out here, little strands here and there is an old bit of darkness and they will help neck and year to pay out to be more like this. Pupils. Darken those down a bit more. Here, S is entering. To manage these dry brush. Some of these extra little details. 11. Female Portrait 2: Light Hair: So starting off with a very light wash, we are going to mix up a bit of Pi will read. I'm just using a bit of normal bottle ready to Daniel Smith. And I'm mixing it with some yellow ocher. And this is just going to create a very basic skin tone. Fact this is quiet and dock drawn to add some more water into it. A little bit more of the yellow ocher is well, maybe tiny bit of this orange. That K would be more yellow. And I'm just going to be covering essentially her entire face with this color and working around her eyes as well. Using a normal flat brush. This is number 12, flat brush. Your teeth will gauges to cut around the eyes a bit that and go over pretty much everything else. And then work your way down to the chin area here. Then k. And that should just about do it. And what I'm gonna do as well is just add a little bit of darkness into her hair. So I don't want these to leave a harsh kind of H. Yes. So I'm just going to be darkening up and that being the corner is almost dry. But I'm just getting in an impression of her hair already while the paper is still somewhat damp, just to getting the fringe like that. And I'm much for the rest of it, I'm going to use a bit of just a bit of yellow ocher. And as we move up, it's getting the law to areas of her hey, going to use a bit of lemon yellow as well through this and mix. So really at the moment, the only thing I'm doing is just layering in some colors and very lot colors. Not worrying too much about specific details or anything like that. But just try to getting those lots of colors, especially on the sides. When you've got the sunlight sort of reflecting off like that. And it's good practice I find to just try to get into some of those colors earlier. This and moving down, let's add a bit more grain here is some darker beats. And then a bit of blue in here as well. And then you mix it with some of the red to get it. Grayish sort of column can use neutral team that works as well to kind of just dock and down that yellow. And just work your way down the page. It's going to be more of that yellow greenish tinge to it because I've mixed in some of that blue early up trying to dial that down. Maybe some yellow are running through here as well. So I'm just getting in some very basic colors are suppose to be cutting around a face. But at the end of the day this area needed, she was actually darker and will be reflected as we go through and add those darker colors near the end. But just getting in a bit of this release warm colors running through. He's really going to help and have a few strokes just coming off near close to the shoulder, just on the corner here, like that. And then as you can see, I'm going over the top again while possibly have already drawn and that just indicates essentially some strands of hay running through like that. So it's very subtle. And now we're going to have to go through and do this part of the hair again anyway, mod Edison neutral tint, color of my palette. Just one of those docs. This can be part of her shoulder. Here. Just joins on to parts of the hair. And that has a couple of strokes here. Streets like that. Just keep some variation going on between dark areas of workloads and to make it safe out there and patterns and things on here. I think that's important as well. Let's join this ONE. Witton went that way down to the bottom. And Part of clothing down on here. I'm just going to getting if neutral tint. And also a bit of this color called moon glow by Daniel Smith as well. Actually there is a head does go across down the bottom bit more, so I'm going to pick up a bit of extra color for that. Just a big more of this yellow. Clean off the brush first. Just get some of that yellow. I shift that down further like that and we let it just melting. Do its thing like that. Somebody here even like that. Okay. Let's have a look. I'm going to start working on some of her facial features all I'll let this dry off. So small, round brush, this is the way I do it. Step number four, round brush, smaller. And I'm going to be going in with a tiny bit of red around the eyes. Just defining the eyes. The more, lot more should read that. And actually this area of the face is on the shadow and we've got indication of eye brown top. I'm just going to get a little bit of darkness in there. And then the same thing goes over the top of the psi 2. So I'm going to just imply the darkness. That's also have a look at man knows dots. So it's a roundabout here like that. So that's just forming the side shaping the side of the nose like that. And then as we move further down, you're going to be able to see the side here. So I'm just going to really imply that it's not not really to all of these at all. Just a little stroke like that and then it's just the indication of a nostrils. I'm going to need to emphasize this more later anyway. But that would be a good start, just getting some light indications. What we can. The other side of the nose also has a little shadow and I kind of cutscene around there. So I'm just going to imply that there is large and kinda shatter that goes down. Yes. Yeah. Just define the actual shape of her nostril and the bulbous area. Tip of the nose. I didn't a bit of red here as well. Okay. So very subtle. You can barely see it. And I'm changing the lips because I don't want them to stick out as they do in the reference picture. I just want them to be a little bit more subtle and going over firstly with some of these red with that and getting myself general outline of her lips. And what I'm gonna do is just try to soften up some of those edges as well. So let me have a look here. So thinking of mortar in the edges, like here, here, underneath ellipse as well. Just a little bit of water to encourage some blending. Ok. And let's work on her eyes a little bit. So I mean, picking up a teeny bit of neutral tint. You're neutral tint, mixing it with some red. And really her eyes. You can't see some whites of her eyes, but it's almost gray color because it's under shadow. So I'm going to just define the ages of her eyes and little bit more. This beautiful, neutral tint. Try and keep this as transparent as possible as well. I don't want it to 200 of use k. I think I'm going to middle pink through here. It would be good. Wash of pink and pH is dropping some more color to the corners. Just a tiny bit of this red that have a look at how it hands out and lift out if you need to. Just defining a little bit more of those values in the eyes. And I'm going to get some of the color of our eyes and I'm going to use and she'll be using some ultramarine blue mixed with the tiny bit of weight. Mainly ultramarine. Some kind of darker blue color. So let's just get that little wash. See how it looks. And then one thing I haven't done at the moment is left Lu hi lot Nyae, which I realize now I'm going to have to do that later with some quash. But this will be okay. And you can just go in and get some coloring like this. And it's just judge and see whether it's dark enough or I need to add some more and I'm definitely going to need to go back into it later. But just a simple addition, they're just putting in the a bit of color. Okay. And we can do nostrils a tiny bit more as well with a bit of this neutral tint. Neutral tint may just really sought to define an area beneath beta. Okay. Maybe some little bit of the air and a nostril that left side here. That and in a minute just get a bit more color going around her eyes and move these eyeliner that I do need to put some more red underneath her eyes as well. So just another wash here. Wash like that and you're going to get a beat under these 12, 20. Did that soften that out and be okay? All right. There's other loop where else we need to add some more dark times thing on the left side of the face in needs to be just an indication of the cheekbone coming in like that. And it would be more darkness. Down the bottom two. This is a very soft I'm going to stop the message with some water that okay. Or reading it, do its thing. I'm coming down to Iran's e and now you the chain. So I'm adding in a bit more paint underneath that. Her lips here just to imply that little shadow there. And the corners, corner of a face here as well, That's going to shatter. That kind of just blends into the right side of your face. Something I'm that to just soften some of these edges like here. Soft in here as well. Here. Okay. He's adding a pupils can be really annoying to dock in her entire cell is almost completely. You'll recall I've read again, light it will stay. So thing with watercolors, if you use too dark of a pigment, It's very hard to go back. So if you're using it, what lightly, you can always go back over and modify those values again. If needs be indicating sides of lips. And a little bit like that, we need to make the actual leaps more prominent. Hey, tough, getting that shadowing underneath. You'll need to redo that. We some red. Just drop that in the boardroom to some, please. Okay. We'll wait for that to draw it a little bit and then I'm going to soften off the edges. Okay. Oops. And you can now start looking at her hair. So obviously we want some texture going on in these dark areas of the highest side. I'm going to be picking up some brown brown mixing that with neutral tint and can even mix a bit of yellow into the neutral tune, the same sort of thing. And I'm going to just getting some strands of hair. So I want it to be fairly doc. And I'm keeping the brush somewhat dry as well so that I can get to so I can get these strokes, these dry brush strokes happening like this. So that's getting a fringe. So I just come in here and looking at where it kinda stops on a face as well. So I'm going to just above the eye really to here. Monster from the bottom and work my way up in this case like that. Then. Great. I'm going to define some part of it, the left side of the face there. And over these islets getting some strokes here. That's not the one coming in. This sort of a face like that. When I'm using it, is to actually define the edges of the face as well as you can see. And decide here that seemed darkness and this strand of hair that kind of just goes down. And then another big sort of comes up here, motivates quite a lot. And the right-hand side, but underneath that she is putting a bit of darkness here like that. And it's actually part of her clothes underneath here as well. So really important to do these finding where we can just emphasize some dogs near the face to draw out features and the shape of the joule as well. So and I'm trying to make it look natural. It's using just a bit of dry brushing technique like that. Retaining a fair bit of this and previous wash behind as well. Very important. Say just making an old kinda come up into these little point to the top. Here we go. This little streaky kinda comes down there. Bit more paint. So have a look and communicate a few more strands coming in across here and moving downwards here. And probably make the speak to dock around her face here. I don't want I can try to do is just adding a little bit around the side. Like that, encourage it to blend more like that. I think that's going to help. We've been around since tf going to have to just sort of change it up a little bit and make it look like it's out of a hey that's just floated around the side of the face like that. It's going to look a lot better this way. And you're going to go, some of the hand is coming across a closed the like this is well, before I forget, I'm gonna go soft and that part of the lips to the edges of the lips bit of water. And have clean water. I am drawing the brush off and sloughing of the agent that leaps out just fine that it looks a lot more. Natural if you do it this way. And I don't have to get lips, I just stick out of your books. The stick out of the face. I'm very soft edges. And I'm going to need to define more. And perhaps if the past extended got rid of a bit of that shadow beneath it. Yeah. Okay. Since some of the MOOC and I'm just softening here. Yeah. No need to redo that beautiful, lighter because the dioxin. Okay. I'm going to write stock and our eyes a bit more. This is just like that. And nothing goes wrong. Like try to emphasize that if this shadow that's being cast just done to make the fringe and around the side of a nose. So we'll be using a bit of a purplish color for that. So just going around the age, at least, use the same shatter that really just and finishes up the base of the nose, but I'm going to soften these off much more. And here on the left-hand side, just soften that out would be as well. That means if MOOC and this here, It's really quiet, dark underneath the fringe just where the eyes are. Say, well I want to make sure I get that any plot that enough anyway. Okay. Pupil. Some DACA neutral tint. Now, I want to just shake that area of the face a bit more here. So any straw off that brush? There. Draw out those features of these mole K and Dhaka strands of hair running. Third, this is all just some neutral tint I'm using. Nothing, Nothing fancy. You can use pretty much any kind of dark paint mix of your primaries that works quite well. And we'll just work on an ellipse a little bit mode on other fine that edge. That's one thing we need to do as well. She's good. The pausing of ellipses in. To finish it all off. It's a little 10. So we want to do I'm just getting an indication of some eyelashes and look a little bit too harsh. So I'm going to again add a little bit on. It's an indication that and 0 is 0. And the trick doing all that she is, you start off and then you sort of lift off at the end to get a smaller point. And that's okay. And the bottom eyelashes, we are going to getting this fly indication as well. I'm going to be using this brush, paint and draw out Rosh and destroy. Here is getting a little. If you go to indications that that pupils a bit more signals trues. Just some areas. The pausing of loops as well. We can just Try and get in some of that detail. Was it pays to zoom into your reference picture, which I haven't been doing. Okay. Emphasize a bit of shadow underneath. So often this dot this out and release as well. Just saying that somebody's ears of the leaps in the corners, they sort of later out a little bit too much and trying to just bring them in lead with it. In college at the bottom of her eyes. And that also just dock and the whites of the eyes. Now that I've got a good reference point to see where the other times I think we can start to dock in those areas down a bit more because they're not actually white. Okay. I'm going to start working on the face that's shrub put in the background. Background colors. I'm going to use this brush. It's a little calligraphy brush. And I feel like using some kind of purplish color mixed up a beautiful moon glow. Which is basically it's just a, it's just the color that I've got. Some purple so you can mix up a purple and adding some a look how this looks bit more. Knew you. Okay. Give me read in here as well. One of the colors and k are struggling that in. And that's just want to make it a bit lighter up on the top as well as become down. As long as this color is darker than, it's going to be fine. Little bit darker so we can change invariant. So for example, in this corner here, um, I want to make it. Favorite doc or free, for instance, I, that's, that's pretty dark here. And then over on this side, I'm not just putting a law to wash like that. So and varied up a little bit and also try to blame the middle bit like what I'm doing here. So I might intersect with pots of the hay like that. And that's going to make it actually look a lot more natural and integrated into the actual painting. So I'm just going to do that. Some doc habits and choline areas. And the dark green actually is extending, putting some green in there. Okay, more of these purplish color. Let's move that down and sign as I was saying before, let's get a bit of integration going on because it's mixing in the hair bit so that you just don't have these harsh looking inch. So he's most have these shot looking edges in some areas, but if you have the level of the whole thing, and this is something often we learned. The loss here just doesn't look as good. The background just tends to blending so well with the extra subject and it's just the thing that I've picked up. So I'm gonna do this, bring that color way. And I think we're almost done here is bought and beating strokes here. Okay? And then I think I can really think of is just a few little finishing touches a lot, adding some details on her clothing. Just detail eyes, maybe her lips, the potting and the loops from middle bit better. Apart from that, I'm quite happy with how it looks. So I'm just going to get emphasize that ring around the eyes a bit more. And I'm going to actually mix up a bit of ultramarine blue with neutral tint. And then I'm going to dry off the brush so that I can do this. Because I don't want it to really too obvious then won't be enough even the edge to edge if your eyes pupils as well. Mock 1 to getting a bit more definition. On top of her eye. For example. It's really up to you. Some darker details on the bottom line. Here. Also, I just soften the edge of the slip and the right side of the lip. Soften that up here as well. Soften that color up here, lended more before SHE for her eyes. So she using some core straight from the tube. Picking out that, oops. Draw off that brush. And hope that in just like that. Okay. And let's say that's finished. 12. Female Portrait 3: Brown Hair: So trusting same Portrait of a girl holding a cup. So little bit more complicated is that we've got the hand going in front of the face. But I'm going to show you how work through this. And it's gonna be quite similar to how I've done the other portraits. So firstly, I'm going to mix up a little bit of red and a little bit of yellow ocher. So kinda quite similar to the mixes on used previously. And a little bit of yellow, I think it's lemon yellow that's mixed in. I just wanted to warm it up more. And this mix here should be fine. What I'm gonna do now is just drop this into her face. Let's have a look. It's a good consistency. So it's almost like coffee and type of consistency and going to go around her eyes and also had hay. So we'll actually go onto her eyelid is will be two for head and neck that and just get facing. Any of you go into her hair. Actually, it's really no big deal because we're going to have to cut around and face anyway. So just go through like that extent we colored in a part of a teeth. That's not a big deal as well because I'm not actually want. So we'll go down, cut around this cup like that, and just getting those flesh tones nicely like this. What I might also try and do is just get a bit of these neutral tint. Drop it in, in some parts of a face where I just want to apply. But if shatter like that. Just a little bit of shadow on top of it. I edges of her eyes. Here, for example, just use a smaller round brushes is going to work out better if we do it with this small round brush given the size that we're working on. This is an A4 size sheet of paper or our 1 eighth, 1 eighth shoot. And just do a bit of a mixing. Here. We go. So bit of darkness coming into on the left side of the face. And I'll get into a bit of this shadow underneath her lip to like that. Maybe a bit underneath the nose, true? There. Like that. And part of her eye here as well. I do want to just gain of darkness here because it is darker on top. So it goes around the side and finishes off here, just a bit of darkness. This line here is just a bit too sharp, so I'm going to soften that edge with some water just to and so it doesn't appear too harsh. Okay, we'll probably have to go over that again later anyway. So I'm going to now go and getting some colors full hands. And really what I'm gonna do is just use the same mix of red all the way through. And then a thumb actually goes behind the cup here, like that. And so we look here and really getting just the whole, the whole thing like that. And educating the other fingers as well. Here and testing. And while everything is still wet, this is where a really want to actually getting some some of these wet on wet of things in the hands. We're just doing part of a neck use. Well, this pot here is also kind of connected onto the bottom of the chin. So this whole area is wet. I'm going to mixing bit more yellow and then a tiny bit of neutral tint. Document mix down and drop in some paint here and get rid of darkness. And we'll do this for the hands as well. So it's comply bit of darkness behind the hands and hear that. Carry that down like fat. And finishes at that here. Like that. Just letting that kind of mixing and we can also go through and change it up and be guided to add in some more details. But this is going to generally work wet on wet, adding those shadows, the shadows. And I'm going to add in a bit of neutral tint to the left side of the neck as well just to get in that shatter like this landing here on a chain. Okay. Great. And for her eyes, I pick up a bit of purplish color here in the palette. And I'm just going to give you a bit of comma into, into the the Tulsa, the eyes. These just to define them a bit more. Let's get the other wanting that. Yes. And I also want to add in a little bit of color to white of her eyes because they're not actually what? Grayish, pink color. So we can pick up a beautiful man, a tiny bit of red. Just stand back down and drop it in. Like that. Then it kind of mixed around a bit and get some brown for her eyes to move. Burnt umber here. So let me be burnt umber. And 10, Trump that in here for eyes. Let's just get the shape of them. Correct. Okay. Great. And Ali, it's also just define a bit more like this. And you probably want to add in a bit of blue to this mix to just to document further. Just adding these islands in. And then when they sort of make the corners of her eyes. Okay. Detailing there for nostrils, notebooks or try to put it in at t. He is I'm just doing it a negative painting, cutting around and teeth. But essentially we're gonna just need to adding some red for loops. So I'm mixing a bit of that up and I'm going to go straining that. Good. Yeah, Then the bottom connected onto the bottom part of a loop. Well, and then lots in this area here, because it is slightly lotta that we make should paint here that I'm going to get rid of that. Okay? And when I want to do is just soften this edge as well. I've been finding with these paper I'm using arches smooth, I usually use Saunders mood of this sort of effect tends to work better on the Saunders me with just looks a lot more natural. But you get used to the different papers as you use them, I suppose. So I'm really just working my way through this trying to get comfortable using this pipe. Okay. I think I'm going to leave the lips. And how they and what I'll do is start actually getting some hay hat as well. So we're going to be picking up just a flat brush actually in number 12, that brush. And let's grab a bit of that role on NBA. And I'm going to mix it with some neutral tint, get pretty dark, dark brown and K. And then instead of a MOOC, Let's try that out. I think that's to dock. So I'm going to just lots in that beat mole would have been more brown in there. And let's give that a try. It sped up more brown. And really I'm just gonna go in and get fringe. So pretty quick. And sometimes you don't want even want to start off with the bottom like luis, it's easier. And even use a smaller round brush. For areas like this where you want to imply smallest strands, that kind of thing. The side here just sort of behavior as it goes off to the side. So I'm going to just go ahead and apply that there. And then it goes down here. She's got a cap. So using these to copper round face as well, this is pretty crucial. Heavens, as you can see. I'm gonna just need to configure the down here. Cut around the fingers well, like that. Okay. Let's go down to the side of head and work. Again. Going down. Beat more neutral tint in here. I'm going to dry off the brush a little bit as well. And just bring the hand down here. Near, draw a line. That's okay. Let's shoot, do it. I'm also wanting to just soften up the edges here to be too harsh with the moment. Okay? And I'm gonna go getting ahead now. And I'm going to use just Pew and neutral tint for this. This is the pot and a little bit of mixing into the hairs, also fine. And we need to encourage. Some of that actually, so that it doesn't move so disjointed and just sticking out. So let's go ahead and just getting a bit of that had like that guy. And as you can see, we've got some mixing happening in areas and it'll let that do its thing. And maybe you're going to hear just move data because it's kind of getting it away from here. Okay? And bits and pieces, you can change up. The paper's still wet. There are little highlights in her hair as well, kinda running across. So what I'm doing here is I'm just just lifting out tiny bits of paint. And just to get a sensitive and light. So 20 be here, it will lift off as well like that. Great. And her chlorides, we're gonna get some neutral tint and let's go ahead and just add that in like this. And it's really quanta OK. At 11 I add some blue as well, mix it up a bit. Blue in here. And again, I'm just getting a shoulder on this side, a little bit. Ten divides up and it'll go down here where it gets darker here. And with this sleeve I've just want to make it a 20 bit lata and the Wash U for actual. Other part of a jump like that. Some editing, you'll be okay. Well this is all wet, especially in the bottom it I'm going to think now of adding a background. So I'm going to go with, Let's try some, try bit of green. So I'm kinda took we see makes. So if we mix a bit of this color, blue, in this yellow, we having a dark green cursor here. Okay? And what I wanna do is just get some lighter colors and he kind of just granulating. And this is a bit of a purplish color. I've got near her hand as well. So we just get that. And big lots are in the background. Maybe Moby of this red as well here. And where we'd go hands, I'm actually going to go dark because that's just going to help the hands to stick out more. So it's going to cut around them. That's running through here. And we can even get some kind of abstract shapes and things running through the background. Door. Something off in the corner. Right? And it's going to go ahead and continue darkening the back ground. Or they said I really don't want to make it to dock. And down the bottom here, I think I might just get it to fade into the into a close body like these. Get that in. Swap over to a larger flat brush. This is going to make it easier. Drugging some colors that while it's wet, you can even just gravity of pain, drop it in and let it do its thing slowly in blue here. And work on just cutting around again some of the clothing here. And because the background is darker, It's also going to help to just get her hands to stand at the sleeve anyway. We can move that across to just blend in. More like this. Okay. Well things is still wet. You can always play around influence try to influence things. Spray bit of water here and there as well. That can make it look a bit interesting in areas. Okay, so I'm going to leave that background and now just start working on the cup. I'm going to get in a booth. And Scala forward. So it is APHAB DACA. And we'll then the rest of it. So just make sure we reflect that can around the hands is carry that down here. Okay. Leave that. And I'm going to start just adding a bit more color to the eyes and defining that beat more. So just to start off here, that's getting the eyeliner. That will do the other eyes. Well, that's great. Bottoms of these eyes just needs to be tiny bit of color. They're thinking of eyelids to just the darkness in the corners. We don't actually softer that off. It more like that. This is just going to give them didn't mention and I'll leave that center section of the eyelid little bit lighter as well. Get through that. K. What else can we do? Let's remove the teeth. Is ending the pausing of loops. Have to be quite careful with this. And what do I have to do it? Something like that. And underneath the lip as well as some darkness, he is going to imply that. Pick up a bit of lighter paint and I'm just going to enlarge a bit of shadow underneath this. That kind of fade in. And thinking also need the chin. Now I need to define this area more, just a bit more. But I'll wait for that to dry. And that's doing its thing. I'm going to go ahead and get the eyelashes in some picking up some darker, neutral tint and dry off the brush a little bit, get it fairly thick. Mix it with a little bit of water, but make sure it's pretty thick and dry off the brush. And then what you can do is just start going in and putting in the eyelashes like this. A good time with him. That is this one here. Here. And it's funny because sometimes we need, the more you fuss around with them, more natural they look. So good. Tip is to also, if you've got a bit of paper just to practice on that bit of paper beforehand. Some eyelash strokes and that may help you get familiar. Just going to do this eyelid cut. Okay. Nostrils in better. I do think that I need to add some more reading to a nose. Nose just isn't popping out enough. So I'm just mixing up a bit of red. It's going to ten per police actually. And we'll drop that into the left side of a noise here. Carry that up. And now it's true that the shadow underneath the nose and that we can nest our shaping and the side of it to just soften this as well. Okay. Bit more shadow on the left side of the face. I think here. We can cancel this cup to try it anyway. They would clean water, something that edge. And the tautness up he used well, the fringe of a face and a doc and parts of the lips here a bit more. Something like that. Define parts of the loops to darkness in the colon us here. Okay. When I'm trying to do is just get some more darkness underneath she now thinking as groundwater smaller brush mark, it easier to get in. And we got a funny thing happening, either he tries to lift off some of this paint K and the Salton off this area that she too yeah. Sultan on this line here. And some more neutral tint. That should pretty much do it. Really threw her hands on okay, with how they look. You can maybe docking the females and a little bit. Okay. Getting some basic shutters and things. So I look here, I think I might leave her hand as 0s. Okay. And bit of texture for Hannah. So just getting in some darker strokes. And we'll finish it off. And just get some more darkness. We're hands ours will just feel that this area has not just isn't dark enough. What I'll do is just re-wet this entire area. These soften off the edges. And we can just adding darkness through here. Who's just to imply what's happening? Dry brushing for workloads and just get an indication of a shoulder here and view the color or something like that. Okay. I'll call that one finished. 13. Female Portrait 4: Shadows: Are you going to get started on this portrait? And I've chosen this photograph because I really like the shadow on the side of this model's face. So just as dark as shuttering across and you've got these indications underneath and over her eyelids as well, which sort of casts a shadow in a funny little direction in this video here as well. So this would be an interesting kind of portrait to do when you've got such a direct, obvious light source like this. And I'll show you how I approached this scene. So what I'm gonna do is I'm first just going to be mixed up a flesh tone. And for that I'm going to be using very light wash of red and a little bit of cadmium yellow. Mix that together here. And some paint left over from the previous wash here, too. Little bit more yellow into this mix K. And I think this should be enough. So what I'm gonna do first is really just go over the entire faced with this wash and just try to basically get a nice background wash might do some wet in wet in some areas, but I don't think we'll really bother with that. Into most of the shadows. We'll get in later on the second wash hands, everything's dry, especially these sharp shadows on the lid pan on the on the chin. I think that will work out better if we just let it dry a little bit, though, it is a little bit softer in these areas. So maybe a combination of a sharper shadow here where we've got the eyes and maybe a softer slash, sharper shadow around here. So let's give it a go and drop in that color to begin with, let's go with the red here. Okay, who's gonna bring this wash down? So we'll look at how light this is. I'm going to add a little bit more yellow in there around and see how it looks. And I'm just going to cut around the eyes like that and go up into the air, the forehead here. And don't be too worried if you start going into the hand, we're going to just go over that later with a dark color. So let's go ahead and just get Eileen now. Okay. And really just going to drag this wash all over using a flat brush. Like using flat brushes for these larger washes because just allows me to cut around. Areas a little bit easier to see here in this section of the face. Get a nice sharp edge. Just makes it easier. But it is a personal preference on an older people like using I'm using round brushes to go all the way down to her neck as well. And just to wear her shirt begins. And before I forget, I'm just going to go in and get this area in. Here. Eyes. Notice some areas start drawing a little bit quicker than others and, um, I like to go in and especially if it's in a very obvious here such as the eye region, I just try to go back into it and get a more consistent wash in the, you know, you can control it to a certain extent. But we've hot press watercolor paper, especially with these arches stuff which is very, very smooth, It can be difficult to get a nice flat wash. Okay? Right. Okay. I'm liking how this initial wash is looking. I'm getting some redrawing some effects here as well as Gino's going to go over that year little bit. And having a look at what else we might want to add in here. I did say before we might do some wet in wet, but I am thinking we might just let it dry off a little bit first because I'm from gonna do it on the nose area. I think we should just wait until it's slightly dried and then going and we'd be able to get some sharp shadows, especially near the eyes hearing aid and make those shadows pretty pretty sharps. Give that a little bit of time to dry while that's happening, I'm just going to pick up a teeny bit of, oops, I forgot to do was actually gone getting the bottom part of the neck here. So we can just heading to improve color like that. And actually this bit's going to be in shadow afterwards, so it's not a huge deal. The actual color of it down here. Neutral tint in the corner. Inch. Okay. Great. I'm going to swap over to a smaller brush and I'm thinking calligraphy brush. Yeah, that might do the trick, but even a smaller flat brush would work. I'm just going to give this calligraphy brush and try. And it's got a sharp tip to it, which is going to be helpful, but it also allows me to get an, a larger area. So we're going to do is just dropping a bit of this neutral tint. Put it in with the red. I'm getting kind of darker red. Color is trying to make it dark enough as well. For what I want at some more reading the more neutral tint K. And let's have a look here. So we want to have a shadow and just being caused on a nose like this and the left side of the nose. So we'll skip that little rubidium like that. Comes across here. And her leap. Here's well, pretty much almost the entire lifts side of the face. Now we've got this little bit underneath the chin that starts here and finishes over here. Like that, kind of to the rot of the center part of a CI. And I'm going to just drop in this neutral tint mixed into this area of the face. And this is where we're going to be more careful. So I wanted to leave a shop, a shadow here. There is time neither i. And then also on top of a lie, he is just beautiful. Cutting around like that. There we go. And let's color the scene. Here. And around the side of a face, we just want to soften this edge a little bit more. Yes, switch over to a smaller round brush to help me out with these k. So just getting some water, mixing that up. The bit of the neutral tint mainly border. And I'm just going to soften this edge here in the corner of the face. And when to even have rating. And well, just to Walmart at color more. And over this side I'm just going to leave that shadow near that lie, but we're going to do is just soft in this area here and just add a bit of water, things like that. And also here on a nose we just want to soften this edge. So soft in there and here as well. And new softening underneath the nose there and underneath the chin as well. Just some of these shadows get rid of that sharp edge there like that. And what we can now do is to go in and basically adding a little bit more paint in these areas to help smooth and an app ID. And just picking up some of these neutral tint again. Adding it in here, say this is going to help to which we just fade in as well. And so have a look on the top section of the hints. Yeah, just over the top of the eye, we've got a bit of darkness here that we need to imply like that. Just a bit. And underneath her hair as well. Just getting that in and this edge to be soft and Div2. And so the book warehouse, and we put some shadows. And the ninth here, just underneath the head there we've got some shadows and shutters kinda cost or the bottom strands of hair might even use a little round brush to do these. Strands like this just to get the impression of some shadows running across like that. And there is a shutter and that's running across the face here. And that sort of joins onto our eyebrows. She'll shouldn't going to just imply for now that we need to get the eyebrows dark and light up. Otherwise, you're just going to look like one big one eyebrow. Can just letting his trying to soft in some of these edges and beat before they completely dry. We can still go back in there, I think I will. Anyway to modify, modify the colors a bit lighter. Underneath the chin. We'll get into a bit of neutral tint as well. Just underneath here. Courage, some of these blending to go on. That blue indication of her collarbone. Like that. Neutral tint just with a bit of the red and the yellow. I'm getting this sort of sharp, a shadow that runs across here. Right? Who made that? As is often the edge of this data, the shutter, their shadow want to change a little bit too sharp as well. I'm going to lift off some paint and just bring it a little bit more to the left-hand side and carriage it to blend a bit more like that. Okay. And Tom, for just some little bits of shadows on her right side of the face is a bit above her. I hear you guys adjust the shadows cast there and indications of her eyelashes, the shadows of her eyelashes. Actually. Who's going over to the left side of the page? You can give them 10 DACA that we'll expand on. That just mean a bit. Right? And Libya the meantime, I hear as well that Continuing Education of the eyelash shadow as well them. Let's have a look. What else are we looking for? Little bit of shadow here. Just a little indication. We've got bits of fam bits of her lips as well. So the corner of the lips, owners of the lips. Then we can start working on things like and her eyes as well. So I'm going to pick up a smaller round brush number 4 round brush now and start actually working on that. While I, O and things are still a little bit wet so that they blend together a bit. And that just defining the shape of her eyes better. And some color to them as well. Just using some neutral tint, maybe a tiny bit of brown mixed in there as well. Yeah, let's just give it a lot wash for now. That okay. Alright, and the edge, I hear you. And we can also just maybe getting the movie is the the top of their eyelid. To do the detailing here. This MOOC, Nerva. And it's going to be in shadow, a bit darker. So this corners like this. Don't be worried of just giving it a try. Especially. The main thing I have to say is if you're worried of going in and thinking, oh, you know, I might be wrong or something like that or you might make a mistake if you go in light, often when the paint dries, you, it looks a lot better and you can go over it again and again. So it's one of the great things about watercolors. And the layering, in a sense, builds up a lot of detail, makes it more interesting. Ways often are start off just getting in a very loose representation and then you just build detail as you go. And sometimes you almost don't believe what comes out on the other end because you're so focused initially on the first wash and you're thinking, it's not drawing how I wanted to draw or it's not going out. I wanted to go about. And it's something that you end up working with him as he defined the subject more. It works out in the answer, you just have to persevere and keep going. That's really the biggest tip I have with painting. Watercolor portraits. And watercolor painting in general. Just going to Pompeians, the nostrils he, and quick indication of where they are. Now we'll have to redo them lighter and go to the lips as well. I'm going to get them Docker in XD in the photo. It's quiet. Read and reread actually say. And we'll give that a try and skidding. Just giving them a light wash of this pile rid Trump that, even see how that looks. Okay. You need just gonna go ahead and Talia area. So to look bad, we don't want to do is also just soft in the top of the lips as well as this little thing that actually helps. And just to give you just a damp brush with some clean water, just to touch on so the top area of the lips so that the edges a bit more softer because lips done really stick out of the face and like that. And here's, well, I'm thinking we need to just soften these. Here. It do its thing, not going to touch it. And what we can do is just continue building up more and more detail. For example, you know, talking about how eyebrows before I'm going to start adding in a little bit more detail to Libre has speak up some neutral tint and draw it off the brush a little bit to loop's going to do that, but to dry off the brush and little bits. And this allows me to getting some fine little strokes, or at least just do imply some DACA eyebrows like that. And the left-hand side as well. Let's go ahead and add those had opera has and this is a general shape like that. Fewest strokes the better. To be honest, I was feeling too much with the arm route here in the rot K. And that's just going to help differentiate the eyebrows from this little shadow here in the middle, the eyebrows, DACA, and so on. Look what else we need to do. We can go ahead and getting some of your eyelashes as well. And what I'm gonna do, I'm picking up some of this neutral tint. Neutral tint. It's almost pure nature team drawing off the brush. And I'm going to do is just go through and edges of her eyes. Just start putting in some new upward strokes like this. So and you can do it that way or you can do them one by one and do this sort of thing. I think one-by-one is going to look a little bit better for these particular Poetry. Define the online or the more that. Okay? And then we're going to have the eyelash coming up like that. Try to get it correct the first time round. Don't want to keep going back into it and doing it again. And the bottom ones. Just leave a little space in between the white of the eye and just do a little bit of the flesh underneath the eye to imply and the bottom section of the IV. And it's all I'm doing is the little impression like that in the corner of the eyes as well. Just needs to be teeny bit darker. Maybe here. Okay. Now we'll just do the same thing on this one. It's less obvious on the left-hand side doing this one of the movie Creed direction. And another interesting thing you can do is lighter on with the bit of whitewash actually go over and get some little white ones coming up just to indicate lot coming off, reflecting off as a middle is kind of the bottom to use. Just like that. Okay. And I do want to just get a bit more color into my eyes, gives it a slightly more brown tinge to it. And these I also needs to dock us is giving a snake and wash brush. Okay, fantastic. And y here, great. Coverage is trying to imply this far of an Austrian here. The complement of quick strokes, indications as well. Pretty subtle. I'm thinking I'm going to have to just go over the shadow again because it's not as dark as I would like it to be. But I'm going to firstly add in another layer on top of her lips. Read. Emphasize that even more. Soften these edges again. K. Do things like just getting a little bit of detail for e is VN. Just that one of them and even the side of the face, like this little bit of dry brush. This helps. 14. Female Portrait 4: Shadows: Okay. So I did say I'm going to do another wash over her face area and I need to do that to just make it slightly darker on the left-hand side, I didn't get that first wash dark enough. And sometimes you just need to do this. Again to emphasize those shadows. I mean, it looks fine at the moment. I think we could make do with it, but I do just want to give it another try. So what we'll do is firstly, just going to re-wet this area with a light wash of neutral tint and a bit of red mixed into it. So just a light wash of this color. And uses smaller flat brush. These. And let's go ahead and define some of the errors again. So these through the nose, hat, goes up here and go underneath the hay. Let's just get this same area in here as well. Leave that area of the shadowing above and below I. And a path from that. You're going to go and keep that another darker wash also gives me an opportunity to just getting these area for loop as well. Then we'll ton and you're good. Hello. And also dock and pot of water leap to say here and here. The shadow being cast on a limb. And as we move down here, again, we've got this soft shadow being cast on the chin. Reach them blends down here. K Ram brush house and I wanted to do some softening. Some areas here, especially you just above it. I soften this edge. That and a bit more painting me to know that song. And then here, soft and the speed may be don't even notice here too. Something that edge. And there's just want that shadow to connect a little bit more onto the eye actually because you've got these darkness. That's relatively pretty much the same time. The shadows, he can be soft into two like that. And you see some funny little artifacts like this kind of blooming air and you can go in and go ahead and lift that at the brush. We touched some areas of the lips. And in fact underneath the lips, There's another shutter yeah. Kind of cuts across. Let that dry and do its thing and I'm going to do is just getting some of the head count. So a bit of this brown and some neutral tint mixed into that brown as well. Let's go ahead and getting some larger sort of strands. And this is a number 12 flat brush. And the brush is neutral tint as well. I'm going to track it in a largest stroke that comes in like that. Keep it fairly light, still darker than the skin time. But what we wanna do is getting some daka, daka at Collins lightest, so we don't want to get it all in at once. So just going into getting this cut around here and maybe just carry it down to the bottom like that. Okay, fantastic. And let's do it here for the left-hand sides. Something like that. And carries down here more neutral tint and K. And we're going to get some of the head and just falls onto my face. Is well, you remember her hair is actually a lot darker. Then what I've got in at the moment, but this isn't the end of it. You're going to use multiple layers. Over the top. This is where we want on getting a few smallest strands, I'll swap to the round brush and pick up that same mix of paint, drop the brush a little bit and do this sort of thing. That too much of it. I got that flat brush again. Too much of it starts to look a bit unnatural. Okay. Docker beauty of her hand sort of just dots around. This sort of splits off guys downwards. Isn't DACA beats, just coming at Dhaka strands. And we want to indicate it's going over the top, a little bit of neutral tint and a little bit of that. But in Tonga, slightly.com and dry off that brush as well. And this creates the illusion of lots of little strands of hair. And he just over I sort of EA, there's an undo man. It's sort of going towards the back. The rest of it's just traveling down with select these and making this area a little bit DACA, like. These, will make the E stand out more. To. K. Is play around with the left-hand side. Being conservative with your brushstrokes and went over doing using just a darker mix of sepia and burnt umber. And Getting there are a lot touched to this k going down to the bottom. Now, I'm just going to darken a little bit more with some neutral tint. Especially down in this corner. That Okay. And I'll do it. We're just getting some, since I'm already here with neutral attainments, get some colors in for a close. And it's really quite simple with the rest of it's essentially black. So push the DACA and pretty much a doc is black down the bottom. So it's mix up some neutral tint. Put that straight in there, maybe put a bit of brown in there as well. You can even add in some blue just into the mix. But just coming around. The other areas. That and I'm going to make the right-hand side and lata these because we're indicating the loss was coming in from the right-hand side anyway. So I just watering that mix down a bit blue to mix things up. And then left-hand side. I'm just going to carry on with this sort of dark and mix and have some fun with it. And that's okay. And for the background, there is actually an implied shadow coming over to the left-hand side where HEDIS, we can get a soft impression of that tree. Start off here. Shutter is lotsa than head. The hair, I mean, so it started off around the camera. Here. Finishes about here. Does mix up some more paint. Maybe adding as well as a bit of this purple around the rest of the painting. Just some purples and blues and near the top and that sort of thing. Some silly in blue in here. Move that blue ribbon that across will use a larger so I can cover more ground to okay. Just around some areas I do want to document mole, especially maybe here and a neck. Just adding a bit of variation to this. Not all the same. Okay? This will draw, I have an interesting looking effect once, once we're done. Okay? So finishing touches. What we're gonna do is just bring out the features a little bit extra. So we're going to look at the dark areas on a face. First thing that I really need to do is emphasize the potting under the lips. So starting out in this corner here, I've put a round brush, beat up a little bit of neutral tint, and drawn off the brush a fair bit as well. I'm just going to imply this kind of potting that's running across and her lips. And also from around their initiatives about a year. Okay. There is a docker ps would just shut our own personal lives too. So I'm going to try to employ that is with a wash of these neutral tint. Like that's kind of forms part of the joins onto this potting as well. Nostrils is more just shaping the side of the nose. I'm going to be more work on our eyes. And this part of the eye is not actually what it's a kind of grayish pink can call this kind of washing the edge lot wash gray. Like that. It's going to make most sense and same thing goes with this part of I here. And so this lines up on the Ryan's on, it's going to now make a little bit more sense in terms of where the light is coming from. But even that's not 100 percent wide. So telling that down a little bit. Just such subtle variations in your time. And it's very hard to see at pupils. But I'm going to just dry brush some mean. And you let it dry off and see how it looks and sounds like you to be very careful with these people who sometimes if you know careful, they can just look very strange. But I didn't want to launch of the contrast between the pupil and the iris. So if they do tend to tune out too dark, what we can do is just dock and the iris gives you the Washington tie thing, just give the whole wash over and that would help it look better. And again, look what else we can do this. Not really, Not really all that much left. Really. I can just keep on going, keep on refining is maybe draw a line. We can just adding a little bit of dry brush to emphasize the separation of a jaw line. That just trying to be pretty light with that as well. Okay. This part of the neck is a lot darker. It's kind of in the middle of the two. Let's do the more detailing on it. Yeah. This side of the face as well. Bring that out to emphasize that yeah. Shader here quickly. All right. Just try and getting some little brushstrokes here to indicate the age is going God at EA. And you don't think it needs any more than that. Probably do with a light wash. Inside. Oops, too much. You could list these out. Something like that. And look at defining that lifts on the face that be well. Because going over that bit of mortar, hoping that we just solved in this side, beat more to an outer edge of her eyes. I'm just going to dry brushing. You've darkness around to find the eyes beautiful. And pupils are looking form. And then just adding on new details that I think can bring out tortured mole, saving little y in the y brown strands like that. Individual strands that night or the top. That will help. And slot definition don't have leaves. Again, just emphasizing that darkness on the left side. As really just keep on going. What I'll do is just adding a little bit of goulash to bring out a homography. So I'm just reaching into fresh some fresh quash from Chu, picking that up within the little round brush. And I'm going to just drop that Aedes to rots on. I can exclude people. Is one unit given the other one too. There we go. A little bit of life. And sometimes what you can do is also adding a little highlight on the nose as well. I could add. I think it's really sort of necessary for this painting, but it's just another little thing you can do. But I would say that's finished. 15. Female Portrait 5: Light Areas: I'm kinda, there'll be making a start on this portrait. And firstly, we're going to have to figure out what base color the skin tones going to be. And I've already had to think about this beforehand. And I think I'm going to use a little little wash of yellow ocher just mixed in in the background with a bit of burnt sienna, maybe a bit of burnt umber, and a touch of ultramarine blue, or even a bit of purple. So these three colors, three to four colors together, I think we'll get and interesting skin tone and match what we've got in the photograph. But there is a kind of yellowish undertone to skin. So we're going to just make sure we get in a bit of that yellow ocher. And as you can see here, I've already got all this extra color and things mixed up on the palette. I'm not too concerned with that at the moment. Clearing a loose section here in the middle and mixing in a bit of this yellow ocher and see how much we want to get in probably, probably be about this much is fine, just a thin wash of yellow ocher. And we want to make sure that we're covering hands, face, neck. And so making sure that we've just got enough paint in there. So I'm going to go in and just getting these quick layer. So let's just go through and run underneath her hair like that. And cut around her eyes, nose, lips. You can go over the lips, that's fine. Okay. The link on eyes and bring these down. And I'm going to go ahead and drop that into her hands as well. Like this. Let's go underneath the lip. And this area here underneath her neck. Get these meaning to okay. And while the paint's still wet, I want to play around and adding some dark tones. So let's try a bit of burnt sienna. And I'm going to mix this up actually with tiny bit of burnt umber, mostly burnt sienna, and maybe some ultramarine ultramarine there on the side and start to just under her neck. That give that a test. It's a bit darker and here, so I'll get the spinning like that, especially near the corners here. And the base of her neck here like that. And let's have a look near the top of the head here there's a little bit of darkness. In fact, underneath where the hair is noticed, smooth and that off. Pretty quick. We've got a bit of a shadow here on this edge of hammers. Putting that in like that quite quickly. Pit here on this side of the face here too, and needs to be kind of editing and just implying a cheekbone like that. Kay? Bit of darkness here on the left side of her face. And now we can smooth this off. I know it looks a little bit harsh, but I'm hoping that it's going to blend in a bit better. Is it melt seen with the previous wash. And this kind of darkness here on the right side of her face as well. Just get that in underneath. And maybe a little bit of darkness here, top of her left side of her forehead. Little bit of darkness on a nose like that. And said Look, soften this edge here. That so really just getting in some general collars. And we can also go through later and just layer over the top if we need to. And let's go ahead and work. On the other hand, again, which we were looking at little bit earlier, we had the yellow vodka. And I'm going to just re wet this area again. And go ahead and just pants all the way down to just the sleeve of a should. And I've got it just ending off around here. Going out of the painting. That okay. Great. And I'm going to pick up a bit of this brown, a little bit of this burnt sienna and Tombow. And we'll notice there's actually a shadow coming in form on the right side of the arm. So I'm going to pop that in like that. And said in a little bit of blue to that mix to that, that that's sort of landing. And I'm going to do the same thing, the Osaka on as well. So just to round it that here, just getting a bit of darkness and bring that down to device here, get it to mountane. Like that shadow that continues over that side of her arm, which I need to soften the edge like that. This is drawn off faster than I wanted it to K. And then you've also got a bit more kind of darkness around here too. Hello softly Cij. Let, let it do its thing. And let's have a look at a hands. Look at her hands. And we can edit indication of some details on there. And darkness here, back of her wrist and also just underneath her fingers here as well. So get that in and let's try it over here as well. Be the B key, NEF face. Hears. 7, Luke, just underneath the fingers. Don't want to overdo it. A little bit of darkness here. So often then of a bit as well. Okay. Alright. And I want to get in also a bit of colorful hair and the edges of the hair. If you look at the top of the reference picture, it's actually quite lot because of the sun illuminating parts of it. So I'm picking up a bit of this yellow, lemon yellow and just dropping it in onto the edges to sort of have this suddenly effect on the edges of her hair. Like that. This is great actually because it matches her clothing. She's got some yellow shirt which I won't get through at the same time. So just little wash of yellow like these. Simple and overlook the neck. Then you choose a random guess. Yeah. Try the other side. Okay. Good. And I don't even want to drop in a bit of neutral tint. And here's well, just on pots of the Should, we can see little bits of shadow, things like that. Do you like to do this while the paint's still wet? You can get some noise. Went away to fixing name without much effort. So give that a try. Little bits of darkness running through here. So it's not all the same color that K underneath here as well. She's got this conduit of hounds tooth kind of design should that scope is kind of house to design. Patent. So I'm going to, it's going to be interesting. I think I'll just actually getting a wash of almost white coming through. And what I'll do is just adding little bits of B so that these black, black, I mean, it's neutral tint. Just drop it in weight onto wet like that. And I want to spend too much time trying to figure out what to do and getting all the little details here and there, I think this should be okay to imply a bit of detail with the bottom here as well. People dead here. But really we have to redo it, but that's all right for now. And I'm going to go in and getting a bit of California House thought with some burnt sienna and burnt umber. It's getting a nice kind of color for her. And I wanted to leave that kind of sunlit area in the back as well. We can go in and modify that area of B if we want to. But I think it just makes it easier if we try to get in that and leave a data bit, feign, There's a bit of mixing, that's fine. But just preserving some of that color. And now really what I'm doing, I'm just mocking out the area of her head's getting in some of these, these basic colors. To begin with, we need to lay out always in watercolors. Just getting this nice. It's kind of a, kind of a chocolatey color. And I'm using my flat brush trying to just get some irregular mocks going on as well. Thinking maybe this calligraphy brush my work to have just the beauty of paint from here in truck that engineers stick with the flat brush actually. Just I want to cut it from this side now, softening some edges here and there to remember we're not trying to get it correct. It'll the hair in at 11 go, we're going to have to layer. It will come out beat by beat. And reno the hair is also a lot darker skin tones, so we're going to need to dock and these would be more likely later on. This is a little bit difficult beat because we now going to have to cut around the, the hands. Do this kind of loosely because I know I'll have to go over it again, mighta like that. K already. So I'm going to try and work on her face a bit more now and adding just some additional details. So let's go ahead and work on the eyes. So you didn't neutral tint. And this globe paint, which is essentially that purple what DACA kind of pick that out as well. And I'm dilute this down a fair beads. And I'm going to just try it to getting this details on grass. So just a little indication like that. Something week, too many mock habit position of the eyebrows. And then going in light again. Few more details. Okay. All right. Just a bit of detailing flat eyes now, I lead and it's actually loading dock or that. But this is a good stop zooming. So the reference photo a little bit more so I can see the shape of it. Okay. I'm getting just a bit of color for our actual eyes as well. So I'm just going to lie. Lie that these, this is just a bit of sienna. Okay. Did it with bluish purple. And then I've got on the palette. I'm going to use that to getting some of the high shutter and up the top here. Matt. And kind of be 25 least one lift off, maybe guy. Okay. And so this little area underneath and eyebrows, his dockets just a little bit darker. I need to imply that this little wash as well that comes across to that side and we'll do the same here. That's okay. Some people will point out so we can work on and is hoping, let me do it a detail for nostrils. Something small to begin with. We'll add more details. We got to buy. Do you think the shadow on this side of the nose needs to be emphasized? Pete will swell. So I'll go through and redo that. Kind of actually goes down to hear their nose as well. Soft enough this shape. Then this is soft and on the knowledge to this shouldn't be a pottage here. Adding a little bit of water and bring these and the different NYSE in law, it's not actually that white out that so, so, so m dot is coming in here too. More. And neutral tint I'm going to just used to strengthen her eyebrows and getting some extra strands act properly. Strokes as well. To indicate her eyebrows. That okay. Top of her eyes too. And just getting that on a MOOC. That's sort of terrorism to the bottom to actually this. It's often hear the bass and the colon is okay. Nice bit more darkness for a nostrils. And this one here to the edge of industrial. It's actually come down around about here. Say, I've got to just indicate that living at very carefully, subtly clad degree of these. Sometimes it looks too harsh before when it's sum and we put the paint first on, but once it dries, it actually looks fine. So don't panic if it looks too dark or sticks out too much before it's dry and it always looks most of Jude wants the watercolors finished working and dried off work and the fingers a little bit. The thing I want to look at is just these little creases in between the fingers. Just very, very lot within as well. And this finger here, which a second finger which this needs to be outlined to be more like that. That's not hole there. And then it'll join and finger than that. Just emphasizing that a bit more. Some of these little creases and unfolds palm to escape some of those in Here. Okay. But it gets some coloring for the ellipse. Let's try some purple. I'm going to mix up a bit of blue and red as men of what Khan. I mean, if you'd go ocean marine and partial rent, that is usually the way I go. Okay. And it's truck the seeing me into ellipse. And this is quite a hard shape. So that doesn't have hot, hot edges lines. So I'm going to go ahead and be, try to be pretty accurate with these actually crucial that you've got a brush that has a nice fine tip like this. Now z2 getting small details. That bottom lip now, I'm careful to cut around the teeth. Drawing on this corner. Around ages, making no saddened darkness at the bottom of the leaves and bottom section of the loops any here. Okay, Good. Let that dry and do its think. Let's have a look what else we need to do. And eyelashes picking up and be neutral tint and a bit of blue. I'm going to just go ahead and draw off that brush. Pick up a creamy sort of mix of that. Pay, draw off the brush a little. And then you've got a nice little point-like thesis is where you want to then go in and start indicating the eyelashes. And you can start off by, for example, going through indicating the island are a bit more and then just joining it on. So I have a few little strokes like this and you start off by basically pressing little bit harder onto the paper. And then as you get to the tip of the lash, lift off. 16. Female Portrait 5: Dark Areas: Of gray to the top section of the teeth. So don't actually want maybe shadow and kind of cost of here. And that is sought to dial that down a little. Same goes with her eyes. And a little bit of a dot missing there. And Manchus redo and a bit of little bit more darkness into her eyes a bit above. And lots Washington bands on by going over the top. Emphasize. In painting. Have a look and see. When she think ahmad actually just get rid of the watts on the eyes to begin with. Light and put it in is some cautious is make it easier for me to paint it. Okay. Eyebrows and work on them a bit more in a minute first at neutral tint. And we'll dock in the movie moments, define them, actually. Make them be more V's and keep them still fairly structured. I'm gonna try to do things with them. Okay. Good. I just want to add some extra darkness. Some areas that might also just go over. General face and hands again with another wash of burnt sienna. And advance Honda. Doesn't just dark enough according to the reference photos. So once I get the hair and if it's going to look a little bit too lots, so going in and just give it a lot wash over the entire area again, you're going to be very careful that you're not really disturbing that previous Maya. So be quick, getting and quickly. Move out of that area to reduce some of those details anyway. Okay. That's wash your hands again, just pulling this all together. You really just want to touch and go and you're glazing a mess around too much on the same spot, you find that you lift up previous layers, especially with hot press paper, you do fine. That's a common thing that happens. Paint just lifting up. Okay. So while that's all drawing and doing its thing, I'm going to start working on her and getting some indications of extra detail. So I'm going to pick up a beat of these. And then Samba MOOC. And we'll get some neutral tint in there as well. Oops. I've just put way too much neutral tint off forgotten that was actually and drawing and drawing yet. So that's super dark. Okay. That should be alright. Okay, so just dropping that in like these here and dry off that brush and beat. Use these kind of zig, zig zag and Conan strokes that I hope, uh, going to just imply some texture in the hair and this sort of curly texture. If the sea and air in here too. And the great thing about this papers that you can go ahead and actually lift off later on to just get some smaller details in the hair. And you've also got access to using a round brush and you can use that to just pick up some paint too. You're getting a little curves and things coming in, for example like that. Just mix it up. Back to the round brush, flat brush and blending, going on like that. And let's go ahead and see the side of a head. Yeah. Cutting around the side of the face. Who's your cutoff? A beautiful Zynga. To do that, but that's okay. Testing. And I'm going to dry off the brush a little bit more. And what I'll do is just these little scratchy mocks in the edges like this. And what I'm trying to do is just blended in a little bit with this yellow on the edges. And it just gets a lot of sort of mocks joining in my fat. Kay? And if the background, I'm going to opt for a very light blue background, just a cooler column because we've got all these warm colors. System similarly in blue, I think would be a good option for me. Just picking a bit about this rule in blue up. So I have a try. Okay. Turn that on. And I've tried to leave on some of that yellow and needs to be pretty light. Linda bit of the yellow in two. Gonna get a bit of darkness here to help you pop it out, maybe around here as well. But apart from that, the rest of it just going to be lots of blue collar. Welcome way around here. Lyn this altogether. And I'm going to continue working on this portrait. There's a lot of legal improvement, so I can still think of, I want to get some extra darkness in some areas. So I'm going to go ahead and just imply some extra doc, sort of details of picked out. Just pick up a beauty of this neutral tint and the autonomy that I'm mixed up before. Now what I'm doing is just every now and then I'm just trying to indicate a cold or something, a DACA sort of code. Some of them going further up to these. Don't be afraid of adding your docs in here because a lot of the time that's what's going to make all the lots of values pop out and And make it, make them look more interesting, kind of completes the painting side. Little bit of this. As long as you leaving some of that previous wash behind, the previous car was behind, you're going to be completely fine. Is going to be nervous when I'm getting close to the slot of advice. Don't want to go over her face with this paint is much too dark. Okay. Another thing I've noticed is that this area underneath had drawers. What doc and shadow actually going to go ahead and indicate that. Now it's going to shake out and draw. It. Kinda just goes down here. Fat and soft enough that shutter. This helps to bring out a joule line. Yeah. Don't be afraid to play around with those dogs are going to help. I think actually, for the background, could change it lighter and add some more dark shapes here in the corner. Let's see how we go and see how we go. Some details, clothing, clothing as well. So cool that I'm just going to use the round brush. Pick up the meat of this neutral tint, and I dry off the brush and get on some things like indications of shirt color is phones and things in his shirt should kinda come across this odd, even been lots. The darkness in here. And now she's got a part of a healthy, it's going out of the term. Continues on random out there. You can just indicate some little details like that. Nothing too difficult. Area for sleep as well. Oh, it's adding some more small details. Here. The NADH comes underneath the cola doc and that a bit shoreline air. You've had a hand. Just looking for bits and pieces really to emphasize. Even in here, it's a lot darker then that's just commenting. And print that out. And get a negative painting. We're going to rise a bit more on just getting the indication of a tuple is one areas and other. Just round them off of it. Landed in. And the edges of the eyes as well. I'm going to just define them. Little pit. These trues. If touching guy, sinking the background and is on, just need to change it up a bit more and have some Docs and things running through some areas of it. It's just looking at a doll. And uniforms, and every width. And it has these large calligraphy brush, your blue, darkness and QA, um, yeah, there's actually all objects will change, something like that where she's at. Some abstract shapes in the background. I think this will help a little. And it looks a bit better. Sienna. And that neutral tint again, going to go in and getting a few loose strands of hay. And maybe some of it and blending into the background of some sort of soft edges near the top. And I think we sue help just so that it doesn't stick out or too much look like such a harsh shape is a wet on wet blending going on in a phone that always looks nice. So the way that you think you might want to adding some more bits of hair and things. Just got some really interesting hair and that's really quite fun to paint. And as you can see it. So a lot of this sort of layering that gives it the sense of detail. And here and this Potts, I'm just improvising as well and not following the reference picture exactly. I thought having a bit more hey, come in across her face like this would I don't know. I just thought it more interesting. Defining a hand a bit more as being one of the HOD is positive. This painting just them getting enough detail in DR. Dawna draw on a bit more. Smooth it off. A nice sort of a sharp edge. Can zoom into half face and pick out a few extra details like the eyes. Few extra bits of detail like that. It's a bunch of these little lines going across them to do it is to be here, saws and knows a bit more. Eyebrows. Just seeking them up a little bit. So often this here too. And so on, ashes and just seeing if there's anything else I want to add in. And to be honest, a lot more detailed than how I mean, they're very small. Foreign lashes, then it is going through the entire section. I'm not going to be able to get them in with the brush, but it's really up to you how detailed you want to go with that. They'll be sitting you forever if I would try to get them all in. Exactly. So let's just get the edges of her mouth in some of the dark areas of the loops and the like that. Just remove this. These are what you'd call the little finishing touches self, the painting really just finding bits and pieces that you want to emphasize little details. For example, what are forgotten to do is getting a bit of shadow on the, on the area above the lip. So I put that in very quickly, something like that. And there's a small shadow here as well, I believe. And those down running down that side. Here's the soft shatter. The much that warehouse. Here. Underneath the nose here. Little shadow here, Buffett. Super subtle. I think that's the same as portraits. You just got these little variations, most undetectable variations in time that you have to figure out. Adding a bit more darkness to the bottom parts of who live. That. I'm going to add a bit more, hey, these nice wet on wet, these are really light. Some of these affect the edges like that. It's worth what will be the combination? Give me how to get a very deep sort of blacking watercolors. And you can see the bits and pieces that I've changed in the head from the reference picture. Now you don't have to always match the reference photo. I actually prefer it looking like this. And The, Hey, just being a bit more and unstructured. My brush strokes here to indicate some patterns on her clothing. She's kinda coming in from the side like that. And I think we'll call it a day. 17. Class Project: Bus project. What I'd like you to do is just have a look at the photos that I've attached to the class. They'll also be in the videos as well. Follow along and you can use the grading technique or you can sketch freehand in the lesson that I've included in this course, which will show you how to do a general sketch. So pick the subjects that I've included in this class and have a look at which ones you want to do. Pick maybe two or three different subjects and sketch them out on a bit of watercolor paper. Then what I'd like you to do, just follow along to the demonstrations using the techniques, see if you can get a similar result to myself and use that as an opportunity for you to practice all these different techniques. Don't worry too much about getting it exactly on point. I think with the sketch really focus a lot on the details and the proportions of the face as best as you can, more for your practice. And the more of these demonstrations that you go through and complete, the more confident and more skills that you pick up a new drawing and your painting. So go through, give it a go. And once you're done, upload that to the class and I'll have a look at it. Let me know if you want me to give you some feedback as well. For the second project, what I'd like you to do is to find a photograph of someone that you really want to paint. Maybe it could be a family member, it could be a celebrity or could be anyone really just a photo that you found on the Internet? I want you to follow the techniques in the sketching part of this tutorial. So whether you use the greeting technique or dissonant freehand sketching, go through, sketch that portrait on a bit of paper. And I want you to use their techniques and all the tips that I've described in the demonstrations for you to just complete that by yourself. And you'll be surprised at what you come up with, give it a go. And you know, all the things that I teach you in this class or the tips, techniques and strategies that I used to paint all these portraits. It's exactly the same. It doesn't matter which portrait you do, as long as you follow the same process, you'd be able to get similar results with your painting. So once you're done with that original portrait, uploaded again to the class, are really liked to see what you come up with. My excited to get started. So I'm really excited to see what you come up with. So good luck and I hope to hear from you.