Paint a Digital Portrait with Clip Studio Paint | Michelle Tabares | Skillshare

Paint a Digital Portrait with Clip Studio Paint

Michelle Tabares, Cartoonist and Illustrator

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
12 Lessons (48m)
    • 1. Introduction

      2:13
    • 2. Preliminary Sketches

      2:46
    • 3. Setting Up Your Document

      4:04
    • 4. Inks Part 1: General Outline and Hair

      5:21
    • 5. Inks Part 2: Drawing the Details of the Face

      5:11
    • 6. Color Part 1: Accessories

      4:49
    • 7. Color Part 2: Skin, Hair and Eyes

      6:30
    • 8. Adding a Background and Cropping

      3:53
    • 9. Adding Highlights and a Vignette

      4:26
    • 10. Finishing Touches

      6:05
    • 11. Assignment

      1:44
    • 12. Closing Thoughts

      0:56

About This Class

Clip Studio Paint is an amazing software used to make comics, illustrations and drawings. This class will show you how you can use this fantastic digital painting software to create digital portraits of your own.

I'll be demonstrating my portrait-making process for Clip Studio from the very beginning to the very end. Throughout the drawing, I'll be explaining each step and giving you all my tips and tricks along the way.

Although this class is designed with Clip Studio specifically in mind, a lot of what we will cover can also be done in other digital drawing/painting programs like Photoshop; so this class will still be useful even if you don't own Clip Studio yet!

Check out this course if you want to learn more about Clip Studio Paint, have a drawing tablet handy or just want to practice drawing digital portraits and illustrations. See you in class!

*This class is not sponsored or affiliated in any way, I'm just a big fan of CSP!

Music courtesy of DJ Quads - https://soundcloud.com/djquads

Transcripts

1. Introduction: Hi there. My name is Michelle to embarrass. I'm a cartoonist and illustrator based in Sunny Tampa, Florida and thank you so much for joining me today. In the past year, I've been experimenting with a digital art software called Clip Studio or formerly known as Clip Studio Page or MANGGA Studio. To some clips, Studio is a really robust, comprehensive software, and it is an absolute must if you are in illustrator or cartoonist, and better yet, it's also super affordable. So in this class, I wanted to take the time to explore and sort of showcase some of the really great tools within clips studio and how you can hopefully use it to improve and enhance your own digital art. And we'll be doing this clip studio exploration with a portrait exercise in this class. I'll be demonstrating my process from the very beginning, which will include rough sketches as we try to figure out how we want to draw in style place. Our character from the sketch phase will move on to the inking phase, and I'll explain my process of how I think and give you some tips and tricks to hopefully improve your digital painting over digital inking will also be working with color as well, which is a lot of fun. And I'll also show you sort of my final detail ing stage as well, just adding a little things that enhance your drawing and give a little bit more character and life and vibrancy. This is a software that I feel very passionately about. I think it is truly a game changer when it comes to creating digital art, drawings and paintings and comics. And I can't wait to get started and show you just some of the things that I've learned alone the way. So if you're ready to explore clips, studio and create a digital portrait with me, why don't we move on to the next video, where we will start with the sketching bays? Thanks for watching this intro video, and I hope to see you in the next one 2. Preliminary Sketches: in this video, we're going to talk about doing some preliminary sketches. That way, when we start, we can just get going and move right along and not be paralyzed with thinking about what we're gonna do or how to execute it, because we already know through the sketching process exactly what it is reported to be drawing. Of course, it's OK if you do your preliminary sketch and you decide once you actually sit down to do your final drawing that you want to change certain aspects. This part is just meant to guide you and to help you work more efficiently on your final drawing. There's lots of different ways you can do this. You can look at reference images, and that could mean reference photos. Or look at artist's works to get a sense of maybe what color palettes you wanna use or what kind of lighting you wanna have. Or maybe get ideas for different hairstyles or facial expressions that you might want to capture. Now, if you want to draw a specific person that exists in real life, I would highly recommend using photographic reference of them. But for the purposes of this class, I have decided to sort of invent a character to draw rather than based my portrait on someone that exists in real life. This way I kind of take more liberties and not worry about whether or not the likeness is accurate, Although that's definitely something you do want to keep in mind. If you want to draw someone that exists in real life, you can do as many sketches as you like until you feel comfortable and you find a sketch that you think you could do floored with. And I would recommend doing at least a minimum of three sketches. I keep a sketchbook with me, and it's where I do all of my head of rough, sort of sketchy work, along with a lot of my traditional drawings, and it's very helpful for me to kind of keep it on hand. Here. You can see that I have experimented with a few different facial expressions and different hair styles, so I've decided on which sketch I want to move forward with. I picked this one because I really like the texture and the volume of the hair, and the expression is simple, but I feel like the smile makes it kind of warm and friendly and inviting, and that's just something I feel like drawing at this moment in time. There's not a lot of accessories or jewelry on this sketch, but that's something that I can add later in the final drawing. Now that we have our sketch, let's move on to the next video. I'll see you there. 3. Setting Up Your Document: So now that I finished my preliminary sketches, it's time for me to take my chosen sketch and bring it into my digital workspace. Normally, I use a scanner to do this, but in this particular instance, I want to save time. So I took a picture with my camera phone, and then I uploaded it. Teoh the cloud on my Google photos account. And then I got on my computer, opened up my Google photos account from there and then found the image that I needed and then downloaded it onto my desktop. Once it was on my desktop, I went ahead and fired up my copy of Clip Studio. Once clip studio launched, I created a new illustration file for me to work in. I adjusted the dimensions to make it a little bit bigger, which I will crop later on in the video. And while it slipped my mind, I highly recommend that at this point you also name your file. I personally prefer to work in a square format, but if you prefer Teoh work in a portrait or even landscape layout, that's fine, too. It's really just going to depend on what your personal preferences are now. I'm gonna go to the drop down menu and where it says file, I'm going to scroll down to where it says import, and then I'm going Teoh import my sketch into this new file that I've created. So now that the sketch has been imported, I find that it's a little bit too small for my liking. I want the sketch to take up, You know, a good portion of the canvas that I'm working in. I'm gonna hit command t to transform. And this will allow me to enlarge the drawing. And I'm gonna take a little bit of time to just kind of stretch the drawing out so that it really fills up the canvas space. And if you do this and you find that you're drawing becomes pixelated or low rez because of the enlarging process, that's fine, because you're just using the sketch as a guide. You're going to be painting on top of it. So it's totally fine if the quality degrades as you enlarge it. So now I have the size and placement where I like it. I'm going to go ahead and give a name to my layer, making sure all of your layers. Air, properly named, helps keep things organized and streamlined, and it just allows you to kind of work more efficiently. Now that my inks layer is named, I'm going to kind of take inventory of the brushes that I have. You can see this over at the upper left hand quarter, and I'm just kind of going to scroll through and look at a few and try to figure out which is the best one that I want to use with this particular project. And so I decided, because I was really inspired by the texture and the volume of the hair that I kind of want to go with a brush that has a little bit were grit, a little bit more texture to it, something that isn't completely smooth. And so I have gone ahead and selected this brush entitled Rough Here, which I believe comes with your copy of Clips studio. Although I do highly recommend that you take a look at some of clips, studios user created brushes because there's some really great ones out there as well, which I might be using later on in this class. So now that I've decided which brush I want to use to create my general outline. I'm going, Teoh, make sure I have the correct size and at first the size is a little bit too big. So I decrease the size so I select a smaller brush size, which ends up being a little too small. So I kind of Goldie locks. Tit found a brush size in the middle, and it was just right. So now that we have set up our file, we're ready to start on the fun stuff and actually start painting. So why don't you meet me in the next video and we'll start doing just that? 4. Inks Part 1: General Outline and Hair: Welcome back in this video we're going Teoh, start the thinking process by putting down some lions that will help convey a general outline for the form. And we're also going to be completing the inks for the hair off camera. I've created a new layer which I placed on top of my sketch layer. And this is where I will be putting down my aches with my chosen brush. I'm just gonna go ahead and start placing smoother, cleaner lions on top of my sort of rough, sketchier lines from my sketch guide. I'm trying to do my best to make sure that I don't lift the stylist up from the tablet that much and kind of create each line sort of swiftly that way it flows, and this way it produces lines that are sort of clearer and more distinctive. However, if you do have sort of a rougher sketch, your aching style than my all means, you can go ahead and just kind of create lots of lines. I'm able to put down the inks for the outline of the form pretty quickly, and at this point I'm now going to create another layer for the hair and the reason why I'm doing this is because I kind of wanna have a different thinking process when it comes to the hair. I want the hair to have more texture and dimension than the outline, and so the inks for the hair are going to be less smooth. And it's going to be easier to sort of keep track of the different thinking processes if I keep them on two separate layers. So I picked out a brush that is much more textural, and I think we'll accomplish that sort of volume and mass that I'm looking for within this hair. And this was a brush that I found from the Clip Studio Assets section. There's a lot of really high quality brushes there, many of which are free, so definitely be sure to check it out. So I'm starting at the bottom of the hair, and I'm doing this because I imagine the portrait being lit from above. This means that the brush will be the biggest, densest and blackest at the bottom part of her hair, and then, as I think, from the bottom to the top of the hair, my thinking is going to become lighter toe, let some color through and to show that the light is coming from above. I'm just kind of stippling in some marks, and you can see that as we've reached the midpoint of her hair, the brush strokes have become much smaller. So now I'm reducing the brush density and opacity this way. The once really dark black ink color now becomes more of a gray. Later on, I am going to add some color to the hair, and I do want the color to be seen, especially towards the top, where the light is hitting the crowd of the subject's head, and I'm also just gonna go back and fill in some gaps to I don't want to fill it it completely and make it a solid black because that would eliminate some of that textural look that I'm trying to go for. But just going in with this gray er sort of brush to kind of fill things in, make things look a little bit more uniform. So it's a bit of a balancing act. So now that I have filled in the hair in a way that satisfies me and I think has that sort of texture that I'm going for. I'm gonna go ahead and sort of clean up the sides of the hair because, as you can see, there are some great bits sticking out using the eraser tool. I'm going to start to clean things up, remove some of the grey that I don't want there and also to just kind of work with the outline of the hair to make it look a little bit more realistic because we can see this person's ears. That to me makes it feel like her hair should be behind her back. I'm gonna remove the lions that are on her shoulder. So we had a clear view of her shoulder, and that kind of indicates that this sort of massive hair is behind her head. Now I'm gonna take the blend tool, and I'm gonna soften some of these lines up and just kind of blend things a little bit more together just because some of these brush strokes are looking a little harsh to me so carefully blending things out, but not going too overboard with the blending tool will help kind of harmonize these brush strokes a little bit more. Now that I'm happy with the blending. I want to kind of wrap things up. And to do that, I'm going. Teoh, take a much smaller brush than I was using before and add some finer details, especially around the silhouette of the hair, just to kind of make things a little bit more realistic. Her hairline is just a little bit too high for my liking. So using this smaller brush, I'm gonna bring it down and also try to add lions to make it look like there are actual roots coming from her head. So now that I've read drawn her hairline, I'm gonna take that same small brush that I've been using and go around edges of her hair and just add stray sort of hairs coming out from the main Mass. I think this adds kind of more character and more realism, especially since folks with really curly hair do tend tohave hairs out of place from time to time. And I think it just gives the hair more detail and charm. And since the hair was really one of the things that inspired me to draw this in the first place, I think it makes sense to just spend the extra time and do that detail, especially since it's something I enjoy. Okay. And with that, we have completed the general outline for the body and the hair. So whenever you're ready, let's move on to the next video where we will work on thinking the face. 5. Inks Part 2: Drawing the Details of the Face: So now we're going to be drawing the details of the face. So we're gonna zoom in that way we get a better view of the face and using the same brush that we used before to detail the hair with those sort of stray flyway hairs. We're going to start off by putting down some lines for the nose, and you can see that the lions towards the bottom of the nose have a little bit more thickness again because I want to suggest a shadow to show what direction the light is coming from next time, moving on to the smile so you can see that the smile from my sketch is a little bit crooked and that's okay. It doesn't need to be 100% perfect, but that does mean I have to keep this in mind when drawing the smile on my new layer, because I do want it to be a little bit more symmetrical so you can see that the right corner of the mouth I've lowered a little bit. That is more level with the other corner. I'm also thickening up some of the lions to suggest more shadows in places where I think they're needed. And also just re drawing some lines that I think could use a little bit more finesse. Now that we've moved on to the face, I'm going to be a little bit more particular about how these lines look and a little bit more fiddly, with um, compared to when I was in the last video and just kind of doing a general outline of the form because the eye tends to be drawn more to the face. So I want to make sure that the face is as aesthetically pleasing as possible and has balance to it happy with how the mouth has come out. But it is just slightly off center, and that's OK because we're working digitally and so I can just select it with the selection tool hit Command T to transform and nudge it over slightly so that it is more centered. You might have noticed that in the sketch, the eyes are a bit off center to Justus. I did with the mouth. This is something that I'm going to correct. As I ache by drawing the left eye, and I've chosen to start with this I because it is the more symmetrical of the two and drawing the left eye first in this case will allow me to have sort of a guide for what? I want the right eye to look now that the left eye has been drawn, I'm moving on to the right eye. And as I'm drawing the right I I am looking back and forth in the left eye, making sure that the general shape and size is roughly the same. You can see that the right I have lowered it so that it is more level with the left eye. The two eyes are not meant to be perfectly symmetrical, since no human faces really perfectly symmetrical. But I did want to get them as close as possible. So now that both eyes have been drawn, I'm actually going to hide by sketch layer. Since it's no longer needed. I have all of the components and the details that I wanted for my sketch layer on my drawing. So I'm just gonna go ahead and hide it so that I get a better view of my inks as they are. This is also a good time to save your work, and as I mentioned before. I think it's always a good idea to name your document when you are first creating it at the very beginning. But since that slipped my mind, I'm just gonna go ahead and do that. Now, though, name your document early and save often in the tragic event that there's a power outage or something wrong with your computer. You want to be sure that you save as much of your work as possible. Now that I've hit in my sketch layer, I can see my inks more clearly. And that means that I can see certain inconsistencies within my drawing and have a better sense of what needs to be sort of tweaked before I move on to the next stage. I've noticed that the right I need a little bit more adjustment so that it better matches the left eye. So I'm just taking my select tool and hitting command transform and making those adjustments, making it slightly bigger and moving it just a little so that it is better in harmony with the other I and with the rest of the base. Now I'm just gonna kind of clean things up a little bit and tighten certain lions that they're clearer. And to do this, I'm just gonna take the eraser tool in a very small brush size and just kind of go around and make sure things were looking smooth and clean. But again, that has more to do with my own inking style. If you're someone that likes rough lines and rough, thanks, then you might actually just be done at this point. And part of this cleanup process also entails going back in with a brush and filling in lines that are maybe a little bit too weak or uneven. Up until this point, I've kind of forgotten about the ears. So I'm going in. And I'm just kind of adding sort of those conical shapes and lions that you see you and some or radio lions within the iris to give it a little bit more of a Spiric, a lxi ape and dimension. Then finally using the eraser tool to add some highlights, which I think also kind of adds some extra life to the eye and suggests light three. At this point, we are done with our aches. Now, why don't we move on to the next video and start adding some color 6. Color Part 1: Accessories: So now that our answer done, let's go ahead and start adding some color. Normally, I would recommend doing your base colors first. So in this case, the base colors would be a background color skin color, basically any amount of color that's going to be really significant within your drawing. And I'm kind of going backwards this time and instead focusing on smaller amounts of color . At first, this is more just to kind of switch things up. Sometimes I think it helps to vary a process a little bit just to keep things interesting. I also haven't really thought about any specific color pellets that I want to move forward with. In this case. I'm just going to kind of pick the colors intuitively and just kind of go with whatever color feels right or catches my fancy. In this moment I want to start off with. I'm going Teoh, begin with the's shirt, and for some reason I'm really feeling the idea of a shirt that is kind of a plummy burgundy reddish purple color. So I'm going Teoh, select that color in the color picker, Also going Teoh use a different brush, but one that still has some texture to it, and that is so that the texture within the shirt will harmonize a little bit with the texture in the hair. I want my brush strokes to be visible, so I'm just gonna kind of roughly sort of paint them in. And at first I'm not gonna care too much about the color going outside of the lines to give a little bit more dimension to this shirt and also more texture. I'm going to get a similar color that's just a little bit darker, and I'm gonna add some lines moving in the same sort of the direction. Once I'm satisfied going to go ahead and get an eraser tool and clean up the places where the color falls outside of the shoulder lines. I want to make sure that the neckline has a sharper sort of more definite beginning and end point, since there's a few areas where the neckline is a little bit too transparent and needs to be solidified. So using the blend tool will help fix that and give the neckline a little bit more sharpness. And what other ways I can implement this sort of purple Lee reddish plum color into other parts of the drawing. I love bold and bright lipsticks. So to me that seems like the next step. Using the I picker tool, I'm going to select a color from within the shirt. I'm gonna just the color just a little bit and make it a little bit more muted and start placing it over the lips. And I've used a lower opacity to apply the slip color. That way I can make sure that the top lip and the edges of the lip are darker, whereas the bottom lip, which is fuller and has more contact with light, is lighter. And this gives more of a sense of dimension to the mouth. Lipsticks can often have sort of a glossy texture on the lips, which means that they can sort of catch more light. So I've selected a much lighter color, more of a pink, and I'm strategically placing it around parts of the lower lip, and that continues to enhance the sense of volume within the lower lip. So moving on this portrait kind of has a warm, friendly smile, and I really like the way yellow and purple look together since their complementary colors . And so for me, the next thing I want to do is at some gold, specifically gold jewelry. I'm not really sure at first how to start, so I begin by just kind of placing a gold stud on the ear low. And then, as I'm doing that, it occurs to me that the gold might actually look really nice and pop against the dark black of her hair. And because the hair is more textural, I've decided to keep these hearings more simple and not incorporate too much texture into them. That way, the flatness within the earrings really pops against the dark textured hair. Once I've drawn one hearing that I really like, I'm going to take the selection tool kind of fiddle with it a little bit. Change the angle and the size before I move on. I noticed that one of the ears is missing some details, so I'm just going to kind of add that detail in real quick. And once I have that out of the way, I'm going to take the selection tool again, go back to the layer that has the earing duplicate the layer and create a new one for the other year. There's just the slightest inward curve to this earrings, so I'm also going to reflect this new hearing so that it curves inward towards the face. It's just a small detail, but it doesn't take too much time to make this change. And I think it does add a little bit more harmony to the drawing. And with that, we started to place our color leader on. I will add one more piece of jewelry, but I think this is a good stopping point for now. So whenever you're ready, let's move on to the next video where we will continue our coloring process. 7. Color Part 2: Skin, Hair and Eyes: in this video, we're going Teoh, start applying more of the base colors, and these are the colors that are going to be more prominently featured on our subject. More specifically, the colors found on the skin, hair and eyes for the skin. I have chosen a somewhat neutral, mid tone brown color, and I reduced the A pass ity of the color to about 80%. This will allow the color Teoh show mostly true to form, but it will also allow me to build up the color in certain places, namely places that I want there to be more shadow, like underneath the neck, the Hollows of the eyes, along with the clavicle and the bust. I kind of applied the brown color all over. So I'm taking a moment to erase it from the teeth and from the whites of the eyes or skill era, and I'll go back to those respective areas later. There's some parts of the face where I want there to be even more dimension and shady, so I'm going to choose an even darker brown color on to help make sure that it blends in more nicely. I'm going to reduce the opacity just a little bit. Now I'm going. Teoh, go over some select areas that I want tohave darker shadows like the crease of the eyelids , a dot under each cheekbone and a thin line outlining the neck and you can see right away. Adding, this darker shade really just makes the skin pop even more. It may look at this point with that might be going a little overboard with this dark brown color, since the shading is beginning to look a little too heavy. But since I want the skin toe, have a little bit more of a painterly feel to it. I'm actually going to take a brown color that is between the base skin tone and the shadow color, and apply some brush strokes to blend the two colors in a little bit more nicely. And if at that point there any areas that art still a little bit too harsh, I can soften those harsh lines using the blend tool. Now I'm gonna create a new layer for the school era and the T. This glare and the teeth are both going to be sort of an off white ish color, and I want this layer to be underneath the skin tone layer. So that's why I'm combining the two into a single layer. I'm going to zoom in on the face so that I can better see what I'm doing, since the teeth and the whites of the eyes take up much less space. When it comes to shading the whites of the eyes and the teeth, it's really important to keep in mind that neither are a bright, solid. Pure white teeth, particularly those of adults, tend tohave a little bit of a yellowish cast to them. This sort of yellowish cast will vary from person to person, but it's actually very rare for a person to have perfect, gleaming white teeth. And it can even seem a little bit off because it's not natural. So I've picked this sort of off whitish color for the teeth. And just to ensure that I don't make this character's teeth to yellow, which could certainly happen, I'm going to use a reduced capacity which once again allows me to shade certain areas that would have shadow, namely the corners of the teeth and beneath the top lip. This is nice because even though I have not really drawn too much in the way of gums or separate individual teeth. This type of shading can suggest that there are individual teeth without actually drawing each tooth out individually. Once I'm satisfied with the teeth, I'm gonna move on to the school era. Initially, I tried to color in the school era with the same color that I used the teeth. But in reality, the whites of your eyes are actually more cooler toned than your teeth. So to neutralize the yellow tones in the eyes that don't seem right to me, I'm going. Teoh kind of gently erase most of the color that I placed in, but leave just the famous bit of cast underneath the top eyelid. And then I'm going to select a mid tone, neutral gray color that's once again at a lower capacity and just kind of slowly build in the color and the shading, with the darkest points of the eyes being in the inner and outer corner and the shading becoming lighter and lighter as you reach the center and then finally blending out any harsh lions or any spots that I think are too saturated with color. Then I repeat that process with the other I. Now I'm gonna zoom out of my drawing for a moment to apply the color for the hair. I've chosen a brick red color for the hair, which I think will complement the skin tone and also go nicely with the gold jewelry. At some point, though, I decide I want even more texture within the hair color. So I take a moment Teoh, adjust some of the brush settings on. This is great because this means that I don't even have to use a different brush. I can simply use the same brush that I was using before, but just by making a few adjustments and choosing a slightly darker color and able to get more of a pronounced texture in the hair, since I increased the size of the brush by considerable amount, can see that there's quite a lot of it going outside of the lions and even getting onto the skin. Since I don't really want that, I'm just going to take the eraser tool and clean up around the hair and also the forehead. After another adjustment to the brush settings, I've now reduced the size of the brush, and I'm kind of stippling in shapes that will add another layer of dimension and then also hopefully blend in the parts of the black inks. Anthee dark brick read a little bit more nicely together and in a way that I think comes across is more natural. Last but not least, we're going to color in the irises of the eyes. Initially, I used the same sort of dark brick red color to color in the irises. But since I'm trying to keep things kind of natural and realistic looking to me, this color is almost a little bit too reddish. So I'm gonna go back in with more of a yellow toned brown. And then I'm going to take a light brown in the same sort of yellowy brown range of color and place it in the very center of the irises. And this is to help give the irises a sense of depth sends. Typically, the lightest part of your iris that is going to reflect more light is going to be the centre, since the top part of the iris will be in a shadow that is cast from the top island. So now we have most of our main colors down. Why don't we move onto the next video and at a background 8. Adding a Background and Cropping: Now that we've completed the main colors, let's go ahead and add a flat color background to tie everything in. So for this process, what I usually do is I try to find a color that is already within the drawing and see how it works. As a background, I've decided to try this kind of deeply saturated, almost kind of greenish yellow, since it will complement the jewelry. And the yellow also pops really nicely against the dark tones of the hair. The problem with this color, though, is that when I zoom in, I sort of feel like it almost makes the teeth in the eyes look a little bit too yellow. And that's all right, because usually the first color that I pick isn't the color that I end up with. I think it's best to have options and sends. It doesn't take a lot of time or effort. I think it always helps to see what a variety of different colors might look like. So to do this, I'm gonna go to the drop down menu, select edit, go towards, says total correction, and then from there, a new menu pops up and I'm going to select where it says hue, saturation, luminosity. So, using the hue, saturation and luminosity bars, I'm able to kind of adjust things. Playing with the hue bar will allow me to see what this picture looks like with different background colors. The saturation bar will allow me to play with how bright or how muted I want the color to be, and the luminosity bar will allow me to make adjustments to how light or dark the color will be. So at first I feel like I might be able to solve the teeth yellowing problem I adjusting the luminosity of this yellow. And by increasing the luminosity and making it brighter, I'm hoping that maybe a more pastel yellow will be more flattering. And while I do think that overall it was an improvement, I decided to experiment with some other colors. So by going over to the Hugh Bar, I can easily and quickly go through a variety of different colors to see which one I think fits best. And in truth, I think a lot of these colors actually look nice. I think it really just depends on what it is you're trying to go for. I'm not taking a look to see how pink might do. And while this pink is a very nice color, I almost feel as though it has a bit of a flattening effect to the hair and the shirt. I took a bit of time to make this drawing field dimensional and have a wide range of tones . So it seems counterintuitive to select a background color that would make my drawing seem less total and less dimensional. But still, I feel like I'm getting a little bit closer to a color that I think will work well. Eventually, I settle on an orange color, and I decide that orange so far looks the best. It doesn't have the flattening effect that the hot pink had. It nicely complements the gold jewelry and adds a lot of warmth to the skin and the hair. So now I'm zooming out and you can see that towards the bottom of the drawing. We've got some kind of stray wild brush strokes from the shirt. It was never my intention to keep that they're now that I've done most of the work for the straw ing, it's time to give the drawing a tighter crop so that the stray brushstrokes are out of the picture, and this will instantly give the drawing a cleaner, more polished finished feels. So to do this, I'm going to take the selection tool and create a square. And once the drawing is centered, I'm going to go to the horizontal gray bar that's sitting just the bottom of my drawing. And I'm going to select the second Icahn from the left, which is the crop tool. I'm taking a closer look, and I'm realizing that the drawing is actually not a centered, as I thought it waas. That's okay, because I can just repeat the process crop again. Now the drawing is much more centered. At this point, we're near the end, So why don't you meet me in the next video and we will add those finishing touches 9. Adding Highlights and a Vignette: Welcome back in this video, we're gonna add highlights and a thin. Yet the first thing I'm gonna do here is create a new layer just for the highlights and move it underneath the aches. I'm going to add highlights to the high points of the face so that there is sort of more luminosity and dimension to my subject and for my highlight color instead of a bright star . Quite, I've decided to go with a very light off, white sort of yellowish color which I think will convey a little bit more warped than a bright, pure white. The particular brush that have chosen doesn't have a capacity bar for me to adjust. But that's okay, because I can make adjustments with some of the other bars that it does have, like by playing with the amount of paint density of paint and color stretch bars. And by lowering these levels, I'm able to sort of build the color up gradually, which will give this drawing a little bit more of a painterly quality and also make the highlights soft. When it comes to doing highlights, you want to make sure that the places of the body and face like it highlighted are ones that protrude somewhat and, as a result, are hit with the light source. Since I've determined early on that this drawing has been above the head light source, that means that the places that are going to have highlights Arthuis cheeks the tip of the chin nose. And I've also added some highlights above the eyebrows and the center point of the top island. You can also add highlights to the lips, namely the center of the bottom lip. But since I kind of feel like the highlights that I added earlier are sufficient, I'm going to skip that area. For now, all I have my soft kind of broad, subtle highlights in I want to go in and add smaller but more densely colored highlights two key areas of the face. You can also adjust the brightness and contrast of your highlights by going toe, where it says edit total correction and then selecting the brightness contrast and doing this can add more light or less light to your highlights. At this point, I kind of want my highlights to blend in a little bit more to the face, and first I'm going to use the blend tool. And then if you find that your highlights are still a little too harsh, even after blending, you can use the eraser tool. At this point, I'm relatively happy with my highlights, so I'm going to move on to the next phase, which is adding of it. Yet if you're not familiar, a vignette is almost like a shadow that emanates from the corners of a drawing or photograph. And this sort of shadow helps draw attention to the center point of a drawing or photo. So for my then, yet I'm going to create a new layer that I'm going to place this layer towards the end of my list, but just above my flat background color. And I'm doing this because I do want the vignette to sit on top of the orange background that I've chosen. But I don't want it to go on top of any of the other colors, since I want the subject and all of the colors that she has in her to be the focal point, I'm going to use the same brush that I used to put in the highlights, but I'm going Teoh, increase the brush size and then also change the color. I want this been yet to be kind of subtle, so I'm going to go with an orange that's just a little bit darker than the background color . And then I'm just going to take a few moments to building the color around the corners of the drawing and kind of blend things in because I want to then yet to be sort of smooth. This is good, too, because they've been yet also mimics some of the brushstrokes that are found in the shirt. I'm just using a very light touch with my tablet that kind of softly go over the harsh lines so that they sort of harmonize and go together. But you can also use the eraser tool on a soft setting or people and tool, if that's what you prefer. The changes that we made in this particular video are maybe not as dramatic as some of the changes that we've gone through in other videos, but since we're nearing the end, we're starting to just kind of refine things, tighten things up a little bit and put this final finishing touches. So why don't you join me in the next video? Where will wrap things up with this drawing? Thanks. I'll see you there 10. Finishing Touches: Welcome back in the section, we're gonna go over some final sort of refinements and finishing touches so we can complete our dry. So the first thing that I'm kind of noticing is that it looks like the shoulders are slightly on. Even you can see that one of the shoulders dips down slightly lower than the other. And so to fix this, I'm gonna first go to the inks layer and do some erasing to even this out. But since it doesn't totally fix the problem, I've realized now that I also have to do some erasing on the hair layer as well, and I'm more or less able to quickly fix this issue. And now both of the shoulders are much more even. The next thing that I want to do is add a necklace. I'm going to zoom in and place to rounded lions just above the collarbone and below the chin. If you're not happy with the way the lines turn out, you can always erase and redraw. But in this case, I'm just going to use the transform tool and kind of make adjustments That way. There's an empty space between the two lions just above the collarbone, and that's where I'm going. Teoh Lace three sort of round gold beads that mimic the shape of the earrings but also a little bit more understated than the hearings. Once I've placed the beads in a way that I like, I'm going to go ahead and draw Lion, connects them all together and completes the necklace and then also kind of round out and fill in the shape of each beads so that they sort of look a little bit more even and cohesive. To draw this necklace, I used a very textural brush. And while some texture is good, I'm worried that this gives the necklace too much of a fuzzy quality. And so to smooth the lines out a little bit on the necklace, I'm just going to gently erase along the sides of the necklace to give the lines a little bit of a sharper, smoother equality. Although a much faster solution would be to simply use a different brush. That way you can save a little bit of time. Next, I'm going to spend some time adjusting the brightness and the contrast of the necklace just because it seems a little bit too dull compared to the earrings is a pretty minor adjustment, but it's the kind of thing that I like to do, especially towards the and then the last thing I'm going to do is add some highlights to the necklace to give it a little bit more dimension. You can add some shadows to the necklaces well, but I wanted them to mimic the sort of flatness that is found in the hearing. So that's why I opted not to shade the necklace out. More have completed the necklace. I'm going to go back to the shirt layer, and I'm actually renaming it to be the shirt and makeup layer, since this layer also contains the lipstick and I'm going to be adding sob blush to the subjects cheeks. Using the eyedropper tool, I'm going to select a color from the lips and use that on the cheeks. For the blush, you can see that the color is a pretty bright hot pink, but it doesn't show up that way on the brush property, since I've lowered the opacity along with the amount of paint and density of paint levels, and this is because I do want this flush on the cheeks to sort of match the pink from the lips, but I don't want it to be over done. When it comes to painting and blush, I generally prefer less over more, and so building it up slowly is a good way to avoid over doing it. Once I'm happy with my sort of subtle blush, I'm going Teoh, actually go ahead and zoom into the lips. While I've already added some highlights to the lower lip, I want to give this lip and even glossier sort of feel. And so to do that, I'm going to add more contrast ing sharp white highlights against the lip to make it look as though the lipstick is reflecting light. Once I've done that, I'm gonna go ahead and create a new layer and title it hard shadows. While I've already added the highlights and the mid tone shadows some harder, darker and more contrast ing shadows will help add a little bit more depth and dimension to the face. So I'm going to select a darker brown color darker than any other color that I've used so far and since the whole point of this dark shadow is to essentially add more dark spots in the piece. I'm actually going to leave the A pass ity at 100. Oftentimes I want my colors to sort of blend together. In this case, I don't That also means that I'm going to use these hard shadows pretty sparingly unless you're lighting is more experimental or particularly harsh. Generally, you're not gonna have a Thanh off really hard shadows in most soft or natural lighting situations. So I'm going to start by placing the first hard shadows under the neck under the nose and particularly under the nostril in the inner corners and creases of the eyes, since the shadows in the outer corner appear almost more like a smoky eye sort of makeup. Look, I'm actually going Teoh blend those harsh corners out so that it sort of mimics the appearance of eye shadow. I'm also going Teoh, add some shadows around the hairline as well, and now I'm going to turn off the slayers. You can see what this face looks like without the hard shadows and then turn about gone. See, see how it looks like with, and you can see that the difference is subtle, but it's definitely there. Adding the hard shadows just kind of gives more sort of shape and volume to the face and also adds more visual interest. Once I have added some more hard shadows in a couple of small areas, I'm going to go ahead and call this done using the same dark brown color that I was for the hard shadows. I'm going to actually just sign my name in the corner. I don't really sign all of my work, but this was a piece that I put a lot of time and thought into, and I'm pretty happy with how it came out. And so I think it's always nice to kind of put your stamp on pieces that you feel particularly good about, if not all, of your work. So with that, we have finished our clip studio portrait. It's thanks so much for taking the time to watch this. And whenever you're ready, let's move on to the next video 11. Assignment: Hey, thanks so much for sticking with me throughout this class. So far, let's talk about what your assignment is for your assignment. I want you to create a portrait in clips, studio or whatever other digital art software that you might have on hand. And before you start with your portrait, I want you to take some time to figure out who you want to draw, whether it's somebody that exists in real life or if it's a fictional character. And once you've determined to your subject is going to be, take some time Teoh. Create at least three sketches and make sure that there's a good degree of variation within each of these sketches. Experiment with different poses, facial expressions, hairstyles, accessories, etcetera. Once you pick the sketch that you want to move forward with, or in some cases you might find that you want to take elements from each sketch. Either way, when you figure out roughly how you want your final product to look and have a clear image in your mind, you can go ahead and take a photo of your work or scan it and then bring it into clip studio. From there, you're going, Teoh, do your inks apply color and then add things like shading highlights and any other details that you might want to apply. This is also a really good time to experiment with different textures and different types of brushes as well. Please remember that I'm here to help you. So if you have any questions or concerns or even just want to share your work, I would be thrilled to be of service to you. And I really hope that you have fun making your portrait's good luck. 12. Closing Thoughts: congratulations. You've made it to the end of this class. Thanks so much for taking the time to explore clip studio with me and to also learn maybe a little bit about digital art and portraiture to in the process. I hope that this class was in some way helpful or informative for you. And I really hope you share your work. It can't wait to see what you come up with. Please let me know if you have any questions or concerns or even if you've picked up some of your own tips or tricks along the way. I think we can all really learn from each other on. I would just love to hear what you have to say. Best of luck with your digital drawings, your portraiture and your own clip studio sort of explorations. And I hope to see you soon in a future class. Take care. I