How to paint skintones in watercolor: Making palettes and paintings of 5 skin types | Aarju Sanjel | Skillshare

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How to paint skintones in watercolor: Making palettes and paintings of 5 skin types

teacher avatar Aarju Sanjel, Watercolor Artist, Youtuber

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

22 Lessons (1h 57m)
    • 1. Introduction to the course

    • 2. Course structure

    • 3. Materials needed

    • 4. Overview on mixing colors

    • 5. Mixing pale skin color

    • 6. Mixing medium skin color

    • 7. Mixing warm skin color

    • 8. Mixing tan skin color

    • 9. Mixing dark skin color

    • 10. Final outcome

    • 11. Experiment yourself

    • 12. Tips before you start painting

    • 13. Practice session: Part 1- Pale skin and Medium Skin

    • 14. Practice session: Part 2- Pale skin and Medium Skin

    • 15. Practice session: Painting warm skin

    • 16. Practice session: Painting tan skin

    • 17. Practice session: Painting dark skin

    • 18. Congratulations!

    • 19. Portrait Painting Analysis of Artist 1

    • 20. Portrait Painting Analysis of Artist 2

    • 21. Portrait Painting Analysis of Artist 3

    • 22. Final word

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About This Class

This class provides a different approach to painting portraits. A portrait needs to be viewed from different angles such as color temperature, pigments and dominant color. This class aims to approach color mixing through experments and curiosity. 

This is a practical class, so every student is advised to participate actively along with me.. We are going to do extensive range of exercises. Following the course one by one, around 2 lessons per day can help you get the momentum and you will have the knowledge and practice upon completion.

The course has 3 main sections:

  1. Mixing skintones
  2. Painting portraits
  3. Analysis of portrait painting by watercolor artists

I expect you to become more confident and develop an experimental approach to painting when you finish this course.


The link to other reference photos that are helpful are here!

Drawings are on the resources section. You can copy them using tracing paper or by placing them over windows. 


Meet Your Teacher

Teacher Profile Image

Aarju Sanjel

Watercolor Artist, Youtuber





I am a Chartered Accountant and artist that is passionate about life in general. I found that art is the way I want to express myself. Out of all mediums, I love using watercolors. They are uncertain but make beautiful patterns if applied correctly.

I have tought people from children to elderly and I have had the pleasure to learn from them too. I believe that everyone has an inner child with immense creativity. With proper guidance and practice, anyone can be an artist.

 In this platform, I will share tools, habits and techniques to reignite with your inner child.

I post my works regularly on Instagram, and Youtube, you can follow me there aswell !

If you are new to skillshare, click this link to get 14 day... See full profile

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1. Introduction to the course: Hello, welcome to the course. We know that there are so many different skin tones around the world and there's no one that fits everyone, and especially this lot of olives. So in this course, I am going to break down mean five different skin types. And we can tweak it. You're in there to make a different kind of skin tone. And in this course we are going to go through hands-on so that you have to also get enhanced. Daddy along with me talking about myself. I've done two wonderful portrait exemptions already. I am also a self-taught artist. So if you're like me, then I really recommend this course. And we're also going to analyze some of the great works by the god tests. Because I think that when you analyze others work you get so many ideas would just analyze it. So we're going to combine different kind of techniques so that when you get out of this course, you are as confident and you want to make portraits. So that is the main outcome of this course. A. See you in the next lesson. 2. Course structure: We have already discussed how the water is going to mean in the previous lesson. In this lesson, I'm going to again tell me the course is divided into three main parts. The first one is mixing files, different skin types, and then the second one is using the knowledge gained from mixing those five screen dives into painting the five different portraits and Assad one is analysis of the artist to work and seeing how we can learn from them. And I really want you to also parties agreed with me actively in the course. Take breaks in between so that you'd not get discouraged, as well as your learning process is also still going on. So we are going to move on into the next exercise. 3. Materials needed: In this work and we are going to need a good watercolour paper. You're S1 is e3 size. And this is just for my soldiers. So I don't need to have more than 200 years and P bar, so this is a 180 DSM of watercolor paper. Let's still, it's okay for doing the swatches. I have three branches. One is round brush, and he has a tip that is quite sharp. And I'd like this to make smallest to biggest details. And I like using number eight and brush. This is like this. I like using this because it can hold a lot of watercolors. And this one is an angler brush. I like using the Am Law brush because it can make marks that I like. And you need to have people told. And I have this Winsor Newton watercolour set that is my favorite. I've already done a short-run all the colors, sir. One to you guys to make this if you haven't already. And it's pretty easy, you just lay the color and it helps you recognize exactly what color are you putting out in the paper. So that is it. And I like having two sets of gyros and you can have as many as you want because it will help you. We are going to get started. 4. Overview on mixing colors: Let's activate. So collars, tire having some type of water, I will use a lot of cadmium red hue as my primary color. As we all know that visual appeal have see-through skin and there are very transparent and their faces become reading corner or when the exercise because the blood sees true. And that is how everything will start from red. And after that, I will add some Cadmium Orange to me, the skin here. So debt is going to be my base color. For fields skin. I am going to go from this range wherever you can, remote undo. And if we want to make one, I am going to add moral sees, no, no Hughes. And if I want eardrum or colder than eyes were blue hues. And keeping in mind that my set of columns are going to be different if we are going to use a different brand. And that is why I am going to try to use as we see college as possible. These are the more our psychologies that are going to be used. When we go through arm's going to tan skin and environment dark-skinned girls use and a lot of these, these are also going to use for shattered. So let's begin. 5. Mixing pale skin color: I am going to add some cadmium red with Cadmium Orange. Create disorder of transparent color, thin column x. Sir. For this exercise, what I'm gonna do is these scholars are going to replace this line and the more warmer color will go on this side and a colder color will go on that side, so that it becomes easy for you to see the transitions in every different scan time. Let's get started. If you wanted to make a more transparent and more water. Nice dining to turn drastically reduced the value. I'm going to make this a bit cooler. So I'll use so-called good blue. We can use ultramarine. So in the same mix, we can see that it's already so-called pressure. See what brings to the color this mix? Red and orange. Timely do I get more warm by adding some cadmium yellow? Intense because you're supposed to be PIL. Is we turn it down because fair-skinned and we're going to turn it down by adding water. And material happens. Every skin reacts to the sun and darkness differently. But you can even examine yourself to see where you actually said what kind of colors towards your face or body. So we're moving on to the mediums can turn. 6. Mixing medium skin color: Again, these are a bit more intense than the previous one. If you like, this color is more apparent indoors, race, skin types, lung they haven't reached in the skin and the appeal, but this tool of a yellow, green to make it yellow shaded here. So this is a good technique I could lifted so well. Okay. I added some yellow yellow ochre. Previous was can you now is going to occur. We can see the difference when you drive down again. You can add as much lesions as you want. I also want to have some raw sienna just in case to the same mixture. And see how they react. And form recall the side first and then will gradually increase. Adding some more almost neutralized mix. I want to have some problems. So let's see what happens when I add sum. Carbon dioxide, bubbles burst. So the next step is, the more you add colors to work, less intensity tasks. So what I've got is just reduces its purity and intensity if you add more and more colors. So I do not recommend adding more than three colors to one mixture. You can use gazing because glazing is much better alternative than mixing solid colors. And glazing also gives the illusion of volume. We are going to move on to warm skin. 7. Mixing warm skin color: I want to add some. On the same base. You write and Cadmium Orange, you're going to use a lot of these can be red or orange. If you are a portrait fastest, he's must be affidavit targets. So adding some also neutrals. So I'm adding some red raw cnf first, running some raw sienna and fast. So this will make our skin warmer and this will reduce the intensity of the colors of the redness centrally. As you save some kissed, adding some in this side. Okay. Diluting it again. I would like to see how raw unless we act. Warrior carbon foams, fair to tan two dogs get no more of peak collars you are going to use because opaqueness ad that illusion of having more pigment. So that is another tip for you guys. So much. Again. And some yellow yellow raising off my brush again and again MSN and see what happens. And on this side, on the same these two, these two are in the mix. So this one, I'm going to use ultramarine genetic push off money. And it's okay to have some neutral zone create colors because every face has neutral colors. You know, every phase is vibrant. And this is another tip. You, you have to also incorporate neutrals and dog columns so that other parts of your face that you want to pop really pops. I am going to use blue. I've already added some ultramarine. I'm gonna add some cobalt blue hue to the same mixture. So this is all about doing exercises again and again. Experiment, experiment the cold colors, add some cool colors. And let's see what happens if you ask them green. Green is also a cool color. Depends what do you mix with. So if I have a same mix shift, so on my slips and made some pop, almost looks like red. So you're going to dilute this again because I don't think there's a lot. Almost looks like a pupa done with warm skin as well. You can see that they're more water collects and medium ones. 8. Mixing tan skin color: Indian skin turn all those Mediterranean, Caribbean even. I'm going to add some in dendrite already. So I'm going to add some engine bread as my base color. A bit of a hint, not a lot. Just a little hint. Let's dilate it again. Adding some more nitride. The same mixture I would like to have so wrong. What I am doing is adding some yellow. So can you see what happened to this one and lie trend? So this is not hard and fast. I'm just showing you that you can make hundreds and thousands of different skin colors. I'm adding some yellow as well and you add it becomes coda. Adding some pop into the mix. And denied cannot donating it. We cannot say. 9. Mixing dark skin color: This is our base, Catawba, Scipio. This brand that any other ones. So this is my base color. Add onto it the Van Dyke brown on my palate. Unlike Brown. Diluting it. Also notice that the more you have unfair too dark, you are going to use more opaque colors. And these Ven Diagram and band number also, yellow goes also. Ok. So I'm gonna add yellow ochre with Venn diagram. Some yellow and some yellow Camila, nose and on this side and some ultramarine august of dark used as fled. Like Grand Canyon deep bred. This already looks a bit popular technique. In the engine. Sorry. Less water. Less water in here. Do we get more dark animal bones here? Literally. And afterward. 10. Final outcome: So this is what I have come up, rationalise my panic and column mixing from fair to dark skin. You can clearly see that the intensity of the color this grows on each step. And you can see that even my column mixing is not as robotic. You have to experiment all the time, but just keep in mind the fundamentals like what kind of opaque or transparent do use all bare skin. What kind of transparencies there that really defines how you actually move on to the chart. And you can make it on your own. You can mix it again. After this course is over, you can make it again. You can actually feel that Goldberg with different skin types because there are lots of different types, you can actually relate and you can edit in the future. So we are going to use this palette in painting. The portraits that I have only the attached in the resource section. Let's move on to the next section now. 11. Experiment yourself: So congratulations, you have completed your own set of soldiers for your skin types. And it can be unlimited, can be millions, it can be thousands actually, because it's showing numerous probabilities. And the ask Alice got b, one kind of Alaska listener, so many different variations and really recommend you to try it. I tried yesterday, I made some more weeks it for me, if you want to know if cholera is opaque or transparent, you can eat out one line when a black paint and then you paint over it and you, It's transparent or opaque member that for light-skinned you need transferring colors and for dark skin you need opaque colors. And that is it for this one, I'll have to read five different drawings on my word economists, these are trilogy or some other pellets from Cass art. And I love these papers. I read five different types of schemes that I actually showed you and there are five different people. So I want to actually do an engaging exercise ratio and you have to do it recently. That is a must because that's a rebirth are going to practice and you guys are going to learn. I'm going to practice and we're going to create a different skin types. And I'll try to make it as compact as possible. And if it's true and for you, you can take break and come after days. And I really recommend you to finish this exercise with me for this, I've already scanned it and Easter drawings in the resource section so you can actually copy them as well. And it's easier that way. And also the pictures are used where for Pinterest and I do not own them. We can use it for study purposes. I will also create a PDF of the further that descent. I will see you in my next lesson. 12. Tips before you start painting: Now that we have computed a significant portion of our course, I am going to head over and review some quick tips so that you're very much confident when you go on using watercolors. So the first step I would like to give you is that water that is actually subtracting. The more you dilute with water, then the less intense it will reach. You really want that intense colors and not really add a lot of waters to it. The second tip is always look for values in important, really have that accurate value information in their drawing and values actually darkness or light, lightness. And if you drop them from dark to lie down like five different birds, light returns and then dark and Delic middle tones. So if you group them, then it becomes really easier and you'll be so much more confident when painting. And certain that I would like to give you is really not for the temperature of the skin. So it's sunny outside and the warm light is falling under my feet. If I was under the tungsten light, the clothes would be different. The painting done would be different, different. Pickup one most basic color in a portrait that would be a big scholar. It can be yellow, it can be red. It can even reply, will really decide on one color and then Village risk that collar. And the most important tip that I would give is when using muddy colors, neutral, do not throw them out, do not wash them out. Use it in the inlet or the phase. So if you place New Jersey around the eyes and forehead or like the sides, then it really drives attention towards the eyes because of the neutral, of the dominance of the other parts. Clearly hops everything else out. Use neutral molecule is to do advantage if placed intentionally, so it has to be intentional. My tabs right there. And I hope that you've got something out of this. And I see you in my next lesson. 13. Practice session: Part 1- Pale skin and Medium Skin : The first picture is this one that I have with me. I am going to apply the base color, mix it, show it to. The first color that I'm as a base color is the one that we made. Some kinds of cadmium orange. And can you read in the drawing, you can see that I've had some color blocks. So these are tonal value books. So the lightest of light colleagues. I've added some board pencil marks. This is like part, this is a dark part and I've done that. And that is pretty important when you decide to harmonize the whole painting. And one way to quickly erase later parts. I don't wanna make see-through and just on the face, that's it. That's enough. Sometimes the picture can take colors in the human body. It just cannot take out figure all the, all the columns. You're also going to add some new mix that I already have. This kind of like a purple color. And I'm going to have a mix. So these are the base color is going to leave the white ponds that are. Now another tip is not used. Two kinds of colors in proximity if you do not want to blend them, because if you really added close enough, it will react. So that is it for my first skin, the first layer of the flask in Asia. And he does have a lot of yellow marks, a lot of blues as well, and the rest is pretty. I don't want to mix premix scholars here just to ensure that it's completely over the top. This is kind of like a medium skin that I was talking about that had more oh, scholar colors. Yellow. I'm gonna add some yellow in there. And some ultramarine. On this same mix. Manning some pure ultramarine right there. Cadmium red or called parts of his face, almost looks like partners. So that aside, let's cover his face with one base color. Red color, orange. Would be the area around the cheeks are always red. It's always tinted with red color. And the areas around the forehead are most yellow. And these laugh, but are a bit bluish in color. So that applies to everyone as we segment skin tight. Although you may not see a lot of different colors. As you go gradually to dark, want intense ground and articles in there. I'm going to blend a bit because I don't want to have the right screen to leave it. But here's my first wash. And also the fingers and alerts are correct because a lot of people with very appeals can, you can actually see through it. And also for the hair on the same. For the hair you can actually experiment. It doesn't have to be like one way. Do not follow any standard for that. Just going to add some value like Bush, the first and the middle part. I'm just going to leave it because I'm going to have some tie-dye. So whether that's it, I want to paint ears of birth people. Actually this is done. I'm going to ask for five minutes because I don't want to overwork it. It's bugging. The rest. Going to come back home to mix. I am going to leave it for now. Another tip would be you can add the background we dock so that it becomes easier for you to actually see what colors are there in reality. But don't really do it for all of my portraits. I lived them clean. What you can do it to show it in one example, or often this is done. I'm going to let it rest for five minutes because I don't overwork it. It's already bulking. So I want to let it rest. And her going to comeback. 14. Practice session: Part 2- Pale skin and Medium Skin : Why I am working one by one or site because that way lunch, my paint can dry quickly by and then I can give it enough time for each other. My time is also getting saved on their desk and I am going to add in minor for the cheeks, promoting the same mix of counterion And can you orange, but also adding CRM? Data flow costs just in case. Because you can see that there are so many disease marks with a deep red. I believe that the light is fluorescent light because it looks like colitis, yellow. That is why their shadow are blue. So that is another tip. Whenever blue light hits you, the shadow you face makes is yellow and opposite happens. Otherwise. I'm also going to add some hot in. There is another phase. I'd already lined it so it becomes a bit easier for me to figure everything out. There is darkness is kinda fluff liaising because I'm adding one color on top of another one. Sharon's shadows, a blue. So that is it for this one. Muslim or to Adam. And from some more kind of rent in this nurse, halt. Make sure that you do want to mix two colors. Just don't want you call us to embody. Slit it be intentional. Minute-long 72 mix. That would be intention. Don't want a lot of harsh lines or I'm going to blend it with a brush that I wanted to drive like w1 to my town with no paint on it. We can mix now with those properties. And so can you cadmium red highlighted bits that I wanted to use a highlighter. So I'm going to debit clean brush to lift it off with just the colors. You can see here. I'm going to ask them intensity in the forehead mixed with some red and diluting it. Close. If you'll say closing it to daily living mix that we've already applied. So then we can create a harmonious color, slightly, just one color and one part. The same colors should actually be present in other pulses. What going to paint the clothes will now pick things that were not really we wanna, I mean, purposes to Latin Mix Hoskins. But I'm just going to I just took up so yellow color blended up the edges, making sure that stock and not as sharp edges. So that is it for her. I'm also going to have a bit more intensity on her hair. Adding so bent on bar. With overcoming these port volume. And contrasted a face hair when you compress, cuz it's really dark. You can pause this part and finish it and come back to the other one later. Because I know can we toss to finish everything you're one's goal is not to reach perfection, but to practice. I didn't make it sharper the end like this line. And I've already added water. He I can't do that for now. And then a week later, diamond Chenin or jaw local Do the straight-line all over just a little bit ahead. More on that. Get libraries and eyes, nose but proper one here. And then for the i here actually, if anything, this make it transparent in the beginning. When you highlight at that detail later. Sort of moving to other premix or anywhere in the world. And it looks like the light is, again, looks outside the shadow. It has a quite yet. So I'm going to assume that he is enzyme. These are tied with white in the sun and he has blue under home. Shuddered. Under his age nearly zines. Notice that I'm using the same mix. It's not different, it's not anything else. I'm just going to add a different color like predominant different color at the end, just to make it different than the previous painting. But they are similar mix of colors. It's not drastically different at all. He has a lot of blues in there. So I'm going to make some loose with some aquamarine. Can you read will have. So this is for a mixed still wet and letting it whack with each other. Okay. Shouldn't have added. I don't want to waste my circuit. Why use the same codes here in this part, I'll have my colleagues mixed. So let it, let the shadows be quite transparent at this stage. So just adding some volume for skin. And then I'm going to apply the shadow caught hanging it under his nose. Have to blend it. Is you can clearly see that his ears, but these have a lot of light in them like this, so that the light, the red under the skin is Shiny into also the team. The colors combine side with itself because this pot, the cheek pot, because R looks like combination of two-tuples. Same kind of, you know, this point. I'm just going to add as many lives as possible of the same color. I'm gonna tweak it some fiber that can simply pop some ultra linemen coming to be as well. It's like medal clips. Here. The rest color of populism on his head. For it, so forth, his eyes means the same babum. Second layer, I can add Brown to make Ebola and blending it. Spreading the colors here and there. This same mix. And you see red mixing it with a bit of pop foo. So I have over the lips look of it properly. And I can use to opening here because I get xi puppet shadows. Shadows. As you can see, that it makes with a flood of Lincoln. Read quote ambrosia Mongo with their hair with burnt on the takeaways for this 80 ultramarine tacos. And when you come back to other poke continually, for the final detail, at the end, kind of gave me a greenish tint I was not expecting. Literally has been cleaned property because it's close to the greened. What alternatives are taught? Sorry, Tokyo is turquoise and it's also opaque. Painful dry off, more. Uptake. I wouldn't use it on the shadow because I want them to be transparent. This is the mix all and drawn with ultramarine. We're kind of done and seeing if you have survived till now, we are going to survive later as well, because it will only be fun to only be fun. So sharp, here's a darker suggests. You can really define everything. But this one is just an illustration, so I don't want to spend too much time in one painting. I'm going to go too much on that one. I think I showed you what I was planning to and that is it for that one. So I'm going to have some details that really define this one is the debris. So that is it. A face? When I see that this part is more darker than not about CPI as well, sir. This color is going to be defining Her hairs and here's around her face. To make the strategies like pulling it up because he currently have one line. Doesn't look as realistic. And it's going to help us with the same color. But I'm gonna turn it down. I'm not contains a lot of black. Some postulates in red. So this is the code that I'm using right now and the shadow parties face as well. So this is really going to give up structure. Well, it doesn't lose, it doesn't look as neutral. Adding some pink and Linares. Coming orange, cadmium red, diluted okay. Ellipse with the cheeks, platens out. Meaning what? Do my brush so I could just little skin over some mix of Claflin. And that's it that's formed, that is called a demonstration of that one. 15. Practice session: Painting warm skin: So here we have two pictures. She has more of tan skin and she has moral tan, two dark skin, I would say quite cutting start, but more of like a red tent. And for that, I'm going to use these one skins and these timescales and also some, some section for the dark skinned model. Let's begin our painting. So for the warm skin, I told you that I used more of this role. 4c and yellow ochre mix with our base colors. So I am programming background. Again. As you can see this it needs to stay in preparing. Okay, so that one with the rural ones. And that is going to be my base colors and I'm going to dilute it. I'm going to add some scholars in-between and this one, dog, indian net. And I'm also going to have some band tambor. And as always, either having the blue ones who runs for adjusting the temperatures. So that is that her hair is quite lock and when to use a little glue on that one. So at first and grazing very diluted layer or the mixed with Roslin on that. I just did. That's it. So till now you must have figured out you need raw sienna, you need cadmium red. Can you Mueller was Hannah. Ultramarine. Cadmium yellow and other colors are just abbreviations of learners. One other thing you might be wondering if you're painters of, Painter of acrylic over oil is, why am I not using white? Because white is not a transparent color. It's not like acrylic. Adding actually widened Ethan very chalky and loses its transparency, sir, I might use Y to if I'm if I'm adding highlight, but for also that you will use q wash or acrylic. So this is a, I mean, just around everything with this world. And I know I see some lines here. This is shadow lines. Whereas the rest similar color and gt lift some colors because of Janet. And that's all. The rest is layers and all the textures is all over. You own preference. I like having those patchy paintings because they just had so much creativity looks great, creative Sunni-Shia add patches that his letting in. I, sometimes I do like to blend colors as well. It's personal preference. So adding this same color that I used for skin, for the hair, but I will also add glaze off ultramarine. Let's see what glazing looks like here. Missed some skin near. And that's all. You can actually see a pattern here. Looks amazing, isn't adding some cadmium red orange again. It's not as Peter Grant and which I'm going to add it later. Cheeks of it flush all the shadows again. I am going to use this ultra marine and mix together more ultramarine. So something like that. Really dark. I also use it for the hair. Let the previous color dry because you don't want to mix it with the skin to shatter and skinny should really we separate all the toys are the same mix that I made for the shadow. Adds more yellow ochre and some green as I like, having some green in the hair. Of course more from our insert, the color becomes like that on it. There's this patch which is going to leave some whitespaces. It doesn't look as ten. So I'm going to glaze it again unless I'm arts colleagues. So adding some color that is in dendrite in Internet. Let's see what happened. I don't want to react. Now blending it. I do not want to over r. That is the most scary thing nor to got out because you don't want the painting to look so muddy. That is a pronoun. Allowed some details, some sharp lines. Let it rest. So forth. This is going to left of it. This painting has drag complete t. I'm going to emphasize shadows that I mixed. Controlling again, doing it to me as well. In my previous mics around just at a similar charters around the face. At some definition here and there. I think that we have been able to create that tan skin. What I do on make it move brown. And so this is what is it all about? If you do not like what you're getting and added, please be patient with drawing because it's so important. I want to define this part again. Some brands over there. So to create this really dark color, even when you mix the dark color, if we apply some order, it just diluted so much and you get really light colored in array that you reduce its value. For this one, I really want to use less pigment. We have to define it. I wanted to create just adding some volume. And we just let it rise to really add some pink over there. And finally, to make it really tonight, still grouping. I want to make it a bit and said, oh, yeah. And I think that is so I call that one on yes. Biomass finished facts one. I believe that it it's kinda finished. I could have added more grant. Best. Just done with it. And I'm going to do this one. So this is going to be equal to Nick's plot because it's, I haven't done anything. Scientist is going to renew lesson. See you there. You might express it. 16. Practice session: Painting tan skin: Till now we finished 20 of our main paintings. So let's follow lightest. And this one was median. And after x_hat and warm skin. And now we're going to have a town and dark. So not asked art, but it's in the middle ground of Tannen dark. So I'm going to start it. Chris, showing me this range of colors. You use more flat one. And all of these, sir, it will be a mixture of everyone that the base call real kind of like leads if sworn, not build it by adding more the colors, but that one would be our base colors. So mixing colors and just going to clean it off. See the picture once again. So this is my picture. And she has more of warm orange. Rsa gotta move articles here with yellow tones as well for them. So blue and dark, it's pretty doc. So I deliberately chose pictures that had a lot of shadows because that really they even know how shatters I painted as well. So that is a bonus for this. So first making my base color, I'm using Lai tread and then in dendrite as well. So I'm just going to add some gray. So I've already had some lines and we want to rub this part. It's too dark, funny. Tang Lai tones. So that does it. I think see the valleys values that I've created. Just going to have this really light will only accept on sort of thoughts which are absolute white, preserving that fun. So Likert is an Indian read. Both are opaque colors and backward already create the opaqueness that we weren't with dark skin. One side is free to you. Why? I sing the light is very harsh over there. It gives us a very sharp edge. Defining line. So we are going to mini-planet as well. Know here as you have more do so lot. Going to move on. We say hair as well at the same time because that really help to know what the colors are in the faith. Helps me compare. Darn hair. She had more of a blue dark and discovery with a large surface. There are a lot of white parts to Harry shining through in weekend created mocks of anneals. And it doesn't really work out all the time. It's kind of cut off. But it turned out I should have done it. It's kind of like warm skin right now. I want to make it to another place or something like that to make it. So I'm going to come back in two minutes. I heard Peter close because I wanted to make it harmonious as we don't have. After this Dries, I'm gonna have one more, another glazing or ultramarine mixed width. And we can create that after doing that. For now. It's accordingly hare running some pines and gray as well. In this one, it's really dark. Just freestyle. What is shadow? With the same brush? You can do just a lot of range of colleagues. You want to go to it. Even if I add all the ones that have already had like two or three different colors and that's it. It's getting muddy area over there. My header, I'm going to come back again. I already like what I was seeing on paper. But also adding some culture. Mary. Just a final touch in the shadow puppet. Even more volume in there. Do not be afraid to put the paint on paper. Intuition. I have to tell you a story. I was on a string. Like looking everything was the batteries were like very restrictive, very low value like not defined a lot. And that is when my brother suggested neither. The dogs don't look as dark and the light look. Okay. But the dogs told luca stock versus when I really thought that my dark I'm not giving me just twist and do not be afraid of making dock, dock, dock. And that is one of the greatest lesson that I learned. But that is it. I really like clean room. There's a lot of grantees or every grey that are confined. One thing is I don't use pure black. Pure black is just not president. It's not great to look at because calcium dynamics, jealousy, all the colors. In nature, nothing is really black, sir. If you are having a block putting black ON skins that it looks very artificial. Let phi is again that don't, please don't obese back. It's possible to create strong doc interface. This fun putting this one because I put the lips I'm having run because she has pink hips. So on the inside is Fink. Outside its graph. I actually made that very diluted comes again mixing. Sometimes if you forget to add dimensions like anything else but the picture Nassim dimension. I think we understood how to create skin tone is, I can say start but it's not black. Just show you my painting CF like as if math. So I hope that you guys administered. Let's move on to the next. 17. Practice session: Painting dark skin: Finally, I am painting docker ps of t is a black woman and she's raised here pretty, uh, but and I made a drawing and it doesn't look exactly like the case. I just wanted to get the features right. I'm going to choose my colors. Of course, for Dyson, I remembered by using some ultra marine as well as some might trend. So these are the worst of the colleagues that I am going to use, the upset and the adding some light trend because you don't want to just go, it got dark. At this point. Charging write-ahead. Big as much as possible. Some blending the edges, meeting some thoughts, why are the places where the light is shining? For the other pots? And I'm going to have to find clues as low. So that helps us in the favor of the face. Highlighted it and we're just going to show the colors real quick. Ultramarine. And the red ultramarine, an Indian ret. Adding, so it goes for the hair. It's happened. That same color, hue. That's two doctrine. We now make some red race as well. Co-teaching blended. The teacher can lead to let it rest. And then really charging with another set of colors. This going and make the edges soft, soft. Before that. We're comparing it with the chart that we have. I believe at her skin color is as much as dark as the swan. I see that I had combined some green as well in that. So that is what analyte and warnings and green to see what happens to our I agree. Feedback is to avert. That is the color that it does give me really dark. In, in red again, I can already feel opaque. And every layer and putting, it's getting hard to have that feeling of transparency. And I know that if I make a mistake, we cannot fix it. At this stage, I don't want to ruin the bientot week is I've already gone too far. So that is it. Like all you would do is find the base color and then work your way with experimentation. Just go with intuition as well. Because for artists, intuition is very much important when choosing galleries. Having that exact representation, you can have color charts. There are special tools to big exact colors. There are also apps now to peak callers of certain parts. But for me I like singular man because he wanted to develop that skill rather than relying on something else. I'm just blending. Is this proved to be pretty good because I think that I've achieved that I was looking for does not look as good right now. But then when it's dry, I know that it is going to look good. Just defining some lips. But the eyes, the eyes to be as white. And that's its transition between the face and the body. Just shrinks. The dark green dark in there. I don't want to get lost. We think we're done. I took away. So any ideas from this class? So we are done. Actually you can add layers and layers until you're okay, but just keep in mind that drawn to any layer so that every time we add the wash, like it becomes much more Maria, Maria, you can lose intensity as well if you add so much variations of colors. But I think that with experiment, you can actually achieve what are you looking for? Finishing. 18. Congratulations!: If you have got he did every exercise to allow then I have to tell you that you have also an congratulations because that was a lot to deal with. And I really hope that you took something good from this course and really want to you to say, but all the effort you've put is not wasted. So I have chosen three different artists that are really great in portrait painting. And we're going to see what kind of tricks to how would kind of pattern they have. And once we can really learn from looking at their work. So next video is all about that. So cannot wait to get started. Sure. 19. Portrait Painting Analysis of Artist 1: So the first artist that I have chosen for this analysis is 10K range. I have been following him for some time and I am a really stunned by his portrait. So I feel like I could share it too. And I hope that he doesn't mind it. So the first look that I get from his paintings are that they are filled with so much inversions. And he has paid risk a lot of darkness over the blues and pop of red. We just saw that the painting doesn't die, giving it so much immersions. I feel like his stroke. So if you look at this portrait, you can see that he has created some strong lines and I feel like there's not a lot of mixing involved right there. He has just applied it with really big brush and making those large strokes so that I feel like there's not a lot of mixing, but the feeling of the painting is like he's just captured it really well. And only on this part. And there he has shifted quite soft. And the other part are quite harsh like this one. The ones on the lips are quite harsh. The other ones are not as harsh. And let's look at the other work. You can really see a pattern here. The nose, the not overdone, is not really played around with a lot of contours and everything in the paintings are really crisp and the lines are quite minimal. If I can say there's minimal here. And if you can really look at this painting, he has really played around with the temperature at the upper part is blue, that quote, and the lower part is quite red. So even though this part is, it looks muddy and the column mixing is orange with blue and feels like, but that won't work. But because you task, you do some kind of a neutral color. The nurse and the rest of the phase are quite pronounced. So I feel like he has been able to show us exactly where he wants us to see. Also looking at the backgrounds of the painting, there is a lot of stark contrast in them. If you can look at the back here, it's very much dark, so we feel like the portrait is just coming in front of us. And also if you look at the highlights there, quite sharp, even less strokes he has been able to achieve a lot. And especially the nose looks very much glossy. And I feel like he has just used some raw colors here. So intense colors, I don't think is diluted a lot right there, gives that intensity. And even with the color that is quite done right there and here and there as well. So even that he has balanced everything out. So that dessert put this artist and we are going to move on to another artist. 20. Portrait Painting Analysis of Artist 2: So the next artist that I have chosen is preserved. His artworks are pretty similar, but I feel like there's quite a lot of difference over there if you really look at it. Because he has created a sense of differences in the strokes. So every stroke is quite visible to the eye and the shadows are very much emphasized. You can really see that there's quite hightlight hidden from the Zara. Doesn't have that much from, from Peel card. He must have mixed the cadmium red with a lot of ultimately in to create the shadow over there. And the shadows are also quite transparent. It's not as opaque and the only opaque part is near the eyes and hair and the rest causality, quite transparently made. And looking at other portraits of him to sing as it looks almost like he has created the muscles and every kind of contours. He has just made it so pronounced. There's not much blending over there. When I was a beginner, I thought that everything blended was so good. But it is not exactly like that. Your style can be like super blended to painting like this. Because it's all about the visual representation, the printing house rather than, you know, like exactness. So I feel like this artists really wants to show all the muscles or the values. And unlike the previous artist, he's outlines are pretty strong and I feel like the images are captured very well. He has really expressed himself very creatively and I feel like that is what you should do as well. Like me, very much experimental. You can use colors that you do not really think that their work, but when you paint them out, it really works so that it put this artist and I will move on to the next artist now. 21. Portrait Painting Analysis of Artist 3 : I don't really know how to spell it. Right. And I have been following how access a long period of time. She was also one of those who inspired me to continue with my watercolor portrait. And her works are very much fluid. It looks like there's so watery and fluid, she's really capture that essence of watercolor. Looks like the paintings are still reacting to each other. And even with only one or two colors, he has been able to achieve that life-like feature of any project. And it's so inspiring. If you look at this painting, the whole painting is done in two or three colours. One is green, the other one looks like Tokyo is blue. The other one is this dash, or I think it's a mix of Kanban red and cadmium orange. And that is it. You would not have known if this combination was even possible and I haven't even done it, but it really works for her. So we are going to look at this next painting by ha. It looks like the boy is engulfed in the background because of the way he's hair and the background is also reacting. And also because the background is pretty dark compared to his old phase, it looks like he is pushed in front of us and the bus under the jaw and the hes, the values are created just right to show us that there's some contrast. Okay, and looking at the process of artwork, you can clearly see that she works in large surfaces and she blends the color. It's not like the previous artists who lack where there was just one stroke and that was it. So she has neared so much of colors one-by-one. And as a painting is progressing, the values are getting richer and the volume is being formed. And also she is letting that were done with a technique that is painting while still the paper is wet and she's letting the paint to kind of mix together around. You can see it around the hair and she's kind of like letting it go wherever it goes. So that way, the fluidity of the painting in still maintained. So I feel like she is quite interesting and very much unique than any other artists that I've seen. You can also see here that paintings are very much fluid. You can see that only the harsh lines that are around the eyes and the nose, just to show that there's a form invoked and around this head just to show that there's structure in the face. But other than that everything is so fluid and it is amazing. I am going to let it rest at that. And we are done analyzing that. I haven't read the name of Instagram on description and you can see their work in detail. And I really would like you to find what artists and analyze their work, see the patterns and look at what they're doing it properly and what other things that you really like about them. And you can also take it to not work. So that's it for now. And I'll see you in the next lesson. 22. Final word: We have now Gandhi did the course and I read that you had gained quite a lot from this course as I had so much fun doing it. I want you to see the world of bordered bringing as an experimental world because this is marginalia. Having this one kind of technique that works more or everyone has their own style. And I want you to see that you can pick your own style from mixing different kind of techniques from different artists. And you can just experiment your way through to meet your own unique kind of style in Pooja painting. And there are so many ways you can make your portrait. And it can be, can be magical, it can be, you can set any kind of wounding and portraits. So I really want to say that it's all about experimentation. It's all about getting your hands dirty and putting it. I've drawn the people served that does it for the chorus. I hope that you've taken quite a lot and I really hope to see your works down in the project section. So Cs and do not forget to post them if you have done it. And I really think that the more you do it, the better we get. And if you post, other people are also going to be encouraged by it. So I really recommend pushed out of the box and please do not forget to lead the review as it will also help me grow further. So now out of course, has ended happy painting.