Paint an Eye - An Intro to Digital Painting | Brendon Schumacker | Skillshare

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Paint an Eye - An Intro to Digital Painting

teacher avatar Brendon Schumacker, Artist and Designer

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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

11 Lessons (1h 57m)
    • 1. Promo

    • 2. Introduction

    • 3. Layers - The Overall Process

    • 4. Draw the Eye

    • 5. Establish Base Colors

    • 6. Clearning Up and Adding Detail

    • 7. Light and Shade

    • 8. Texture

    • 9. Reflections - Dynamic Light

    • 10. Eyelashes and Finishing Touches

    • 11. Critique and Final Notes

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About This Class

When we see a new environment, the first thing we look at are the eyes in the scene. Whether it be animals or people, we all communicate with eyes first. So imagine how important it is for art and illustration to draw your eyes well!

This course demonstrates the drawing and painting of a human eye using the free digital graphics software GIMP, although you may follow the course with any software. The goal of the course is to understand the fundamentals of creating a good digital painting while also covering fundamental drawing techniques, and with emphasis on understanding how to portray eyes well. This course will give beginning artists an excellent start path, and give intermediate artists a deeper understanding of the aforementioned topics.

You can follow this course using any raster graphics software, such as: GIMP, Photoshop, Corel, SAI, etc. As long as the software has brushes and layers it should be fine. You can also follow along with your favorite traditional medium: Pencil Drawing, Color Pencil, Watercolor, Painting, or other. We will start with a simple sketch and work our way through layers to build up the resulting image.

Meet Your Teacher

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Brendon Schumacker

Artist and Designer


Brendon Schumacker is an accomplished artist and illustrator with experience in many art forms. Having drawn since a young age, Brendon has a lifetime of educational background in freehand art from various schools in USA and has studied along side with artists of varied backgrounds, giving him a diverse understanding of many illustration styles and techniques. He has published comics and children's books, has done multiple gallery openings, and has been doing freelance illustration and design for over 10 years. His instruction style is casual and entertaining while also being detailed in his examination of varied art techniques.

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1. Promo: My name is Brendan, and I would like to invite you to my new digital painting course Pain. Tonight, when we see a new environment, the first thing we look at are the eyes, whether it be animals or people. We all communicate with eyes first. So imagine how important it is for art and illustration to draw and paint your eyes well. In this course, we break down the fundamentals painting a single I. This is a digital painting course demonstrated and Gibbs software, but you can use any digital art software to pick up the demonstrated techniques knowledge covered in discourse universal. You can even follow along with pencil and paper to study the form of human. I have something to draw with and join in the fun. 2. Introduction: Hello. My name is Brendan. I'd like to welcome you to paint and I. This is a course on digital painting, predominantly coarse on digital painting. It's always a little difficult to explain exactly what my goal is with these creative courses that I make. It's mostly painting, but we're also using digital software. So at the same time you can pick up some of the techniques that I use to do something like what you see on the screen here. That is a, uh, a painting of a knife, and I, you know not to boast or anything, but I find it to be relatively realistic, so it's not obviously not photo realistic. I don't know how to do that, and I am certainly humble when it comes to all of the things that I do. There are some amazing, amazing artists out there, and we have such easy access to them with the Internet today that it could be very humbling to compare yourself to other people. That being said, I have studied these types of things my entire life, and I mean from a very young age, I just I don't ever remember not drawing. Um, I make. Ah, and I also want to say I know people. You have this on their mind. I do make money at it. Yes. Um, not as much as usual. Like half and half. I've been a Web developer and an illustrator, and I do some graphic design as results. And that's, you know, that's not something we go into in this course, but just to let you know that you can make money at these things, once you learn the skills, you make some friends and you're out there and people start to say, Hey, can you make a logo for my new business? Sure. And that's where I got started off. And it moved on into things that more passionate about, like comic books and Children's books. And and I just I love illustration. I love drawing. So that's a little bit about May. I want you to see me on the camera here. As you can see, I always have my tablet pen ready to go. I'll show you that in a minute, but let's jump into the gimp software here and look at some of our agenda for this, uh, this quick little lesson here we have Who am I just discussed that. And then why this course? Well, that's what I was just about to get into its introduction to digital painting and doing that in gimp software, which is a free software, but not necessarily to say that you have to use gimp at all for this. That's something I want to talk about. So we're gonna learn about the form of the eye, how to draw a good I, as you've probably seen in the promo video. Or you might have read in the course description Already. Drawing a good eye is extremely important as human beings everywhere we go in the world, if you suddenly see a cat on the street or any dog or animal, your eyes will go to their eyes immediately. So when you see an illustration, it's the same thing. If whether you be illustrating something or, you know, doing graphic design with some images, you wanna really be aware of the eyes. They're very important to getting the emotion of your seen out and to knowing where the viewer's eye is going to be navigating around your image. It's well, it's an art form, you know this is our. This is what we have to studies, and so being able to draw a very good I is important again. I'm not saying this is a wonderful I have done. I like things pretty good. I might have impressed myself, but, you know, I can prove that it's a valid I. It's a good I because I well, I have photo reference and we studied it, and that's what we do in this course. So, um, if you're interested in all that stuff, that's what we're gonna do. And you can use any software because the focus is on how to draw the eye and how to use digital tools. There's only I'll be honest. There's one part where I don't know about photo shop about much about the brushes I do know and get, but we don't even really do too much of that. Um, so regarding the digital painting and software, what I want to say is, you can use photo shop. There's software called Krista. I'm using gimp. If you're Newt again, that can be a little bit frustrating because it's buggy on windows of using Lennox it perfect. You have to use it well I literally, you have to use this or no Critter is also it works on Linux operating system to could it works on all. And that's k R I t A. Maybe I'll put up on the screen here. And, um, Photoshopped is the industry standard. We all know that. What do these Softwares all have in common? What is the minimum requirement? There's also CorelDraw, for example. Um, they must have layers and they must have brushes. And that's about it that you have to be able to draw and you have to be able to separate layers. And that's all you need. All of these Softwares have that I've used them all, and the they're about the same. After that. You have to worry about your tablet. Your tablet should have pressure sensitivity. Now want to show you my tablets here? This is one of my older tablets that it doesn't work anymore. It's a band boo and, ah, you know, made by wack. Um, it's hard for me to get it on the camera here. There's a big one. You see, I love this tablet. I miss it. I don't use it anymore, but I really, really liked it, but it just stopped working because of driver problems on Windows 10 some kind of update one day, and it just stopped working. So I had to get a new one and I was in kind of a jam. So I got this one, a small company that we have in town here. This, when you see, is much smaller. But I stuck with it, and I I like it. I'm starting. I'm really certainly because it's small, but as you can, you can see the area where I draw on it. It's all in that it focuses around there. You don't really need to move around too much. And since you zoom in and out of the software, it's I don't need to go like cave Man all over the place, right? And with this, when I just want to show is relatively the same thing, I actually had to work more. You can see the drawing space around here. That's that's where you get scratched at a let and, um, you know, either way, they're fine. The key. Oh, bamboo were This is wack. Um, tablets have written down their welcome tablets. They all have pressure sensitivity. As far as I know, the cheapest one that they possibly have, I think even still has that. And as you can see, whether be big or small, I felt comfortable with him. The bigger ones will obviously be more expensive. And they have one. They have tablets with screens on them so I can see where you're drawing. Um, if you haven't done it before for me, it's like this. I'm My hand is down here and my eyes are on the screen and I'm drawing At first. That was a little weird, but I got used to it. I have it set up and get this year so I can rest my hand. You have to turn off. This is how I do it anyway. And I'm left handed. So I hope this doesn't seem too weird for you, but make it so pressure sensitivity doesn't mean around. If you look in very close now you can see Move the mouse and let me show you. I'm not touching the tablet, but when I get close, I can move. Move it around. And then when I actually touched the tap that it will start to do something let me make sure I'm on Ah, layer here. And so when I start to now, I'm touching the tablet and you see it starts toe, actually do something. So hopes let me under that and back to here so I can move the mouse around, find out where I need to be. And then when I start touching, it starts to do things that's it's very useful, and you have to play with the settings, Turn off the touch, the finger touch ability and, uh, the software, the wack, um, software. The driver will actually know that difference of when you touched with the pen or when you touch with your finger so you can turn off finger touch and turn on Penn touch. And then you can rest your hand and move around like this and basically can do anything like that. But that's one of 100 different ways you could set it up. There's buttons on the top, and a lot of people you might already know this. I'm just doing a quick crash course on that, so you get your software of choice and you need to be proficient, not proficient but somewhat familiar with your software before you do this course, I would recommend, um, of course, of your new to your software on your fast learner than that's irrelevant. You can just follow along. You'll probably figure it out. I don't think it's that hard. And of course, I have a course learned gimp. If you want to see my software, a lot of people after watching my video is the first thing they say is, What software are you using? That's why I made to learn Kim course, because people want to look. You see me do this and like, Hey, that looks like fun And it's free software so that you recommend that credit is also free and not too hard to figure out. Very similar to photo shop, it's the same with the tablet layers and brushes. You know you're good to go after you watch this course, you'll be able to use any of those Softwares as long as you understand the fundamentals. Uh, grab brush, get on a layer and start painting. So that's it. Actually, I think that covers everything ahead. My gender here. And if you have any questions, of course we have the discussion area so thank you very much and we'll move on to the next lesson. And I have a good day if you know otherwise. If you're busy. But I hope you get started on the on the first lesson and that's it for now. See it. 3. Layers - The Overall Process: So to get started here, let's have a look at some eyes and we're gonna have a look at the overall process of the drawing that we're going to create because it's good to know where you're going before you get there. Otherwise you feel like you're being led blindly. So first of all, we're going to use photo reference, and I'll go into more detail about that first in the next lesson. But now I'll just show you very quickly that we have these photos and I got a mixture of male female. Um, I believe these eyes over here are a bit younger. It could be wrong, but I just tried to get even somewhat. Even Mixture, I think I have more girls, but, well, they actually come up more when you're searching. And so some of the things we're going to be looking at is the overall shape of the eyes and such as, you know, there's a tear duct. Excuse me? A, uh, every I has a tear duck on the way that the eyelid is usually shaped. We wanna have some type of understanding of the what all of these eyes have in common. So that when we go to draw and I from our imagination, then we can make sure that it has what would be considered a typical human look to it. Even if you look at animate and stuff like that, you'll notice that there is consistency in the way that they draw. And so we're going to study all these things and and then ah, yeah, we'll go ahead and start drawing now regarding the overall process. Let's have a look here. I made a very, very sketchy but a quick demo that should work well enough and get a correct layer here. Right, So start off for this sketch will learn how to draw a simple sketch like this, and this will not be anywhere near the level of detail that we're gonna end up with gonna try and get as detailed as possible. But starting off with a simple sketch just to assure that we have the overall shape, Uh, pretty much correct. And yeah, I was just trying to flip that, So if you flip it towards the left or the right, it should have a certain type of balance to it, and you recognize it as being a human like I, and then the next step will be to add base color such as this. We have to learn how to choose our colors correctly and to put the colors in the right spot . That's not too hard to figure out. Then the detail could get a little bit complicated. Will have to study some parts. The I make sure that we're doing our light and shade the roundness of the I get all of that correct. And then it's all about highlights and touching up. Now I have a lot less detail in this this sketchy version here than the version, the final product, what you've probably seen already in the promo video and introduction, and we're going to go into all of that. But I just want to give you the overall process here. They're probably end up being a lot more layers, but I just want to point out that the overall process is like this just four layers where we did a sketch based color. Some details and then we started to, as you can see at highlights and more advanced lighting techniques. But then we're also gonna have to add some texture for the skin and, you know, maybe go into further detail around the eye and stuff like that. So that's what we're gonna do. That's the overall process. And ah, yeah, that's it for this lesson. Just want to give you a quick review there, and then we'll go ahead and start learning about the shape of the I in the next lesson. See you soon. 4. Draw the Eye: Now we're going to take a look at the drawing. The first step of drawing here and then is to make a sketch similar to the one that you see here doesn't have to be exactly the same. In fact, it should never be exactly the same unless you're trying to draw the same persons. Because as you can see, every I is unique. But we want to try and find what are the attributes of all eyes that are always the same. What are the things that remain consistent as we look from my toe? I so that when we go to draw our I, we can make sure the have some guidelines to follow, just to, you know, to make sure it looks like a human eyes. So let's have a look at some of the basic rules that I follow here by looking at these actual eyes. One of the first things that is quite easy to point out is that there's a bit of a slant if you go from one tip of the I to the next on the left and right here. So from the edge of ah, of this area to that area, then we're going tohave. You know, here's a perfectly horizontal line, and that's obviously, you know, it goes down a little bit like that. So you can see that with every eye that we have here except for this one, because I think her head is tilted and looking up. But in every case, this one is very subtle. They still see it kind of goes up a little bit, and that could be because this tear duct area points down a little bit. I'm pretty sure that's true. And you might also want to notice that where the eye stops, where the ball of the eye meets that tear duct area on the top. Where does that go? Well, that part hits. It seems to be perfectly straight. Not not perfectly. But as as we poke around here with all my little examples here, it's kind of close, So that part is close. But the actual you know, the tip, the crevice there, the edge that is always on a tag. Okay. And so, um, but maybe even should have been. The first step is that we have to remember that there's a ball inside the eye, right? What we see on the outside is Ah, Well, this is the islet. I call this the upper eyelid and the lower line islet. Remember being young and asking a lot of people how to call this, you know, bottom part because we don't talk about it much. It's just there. Everyone knows this is the eyelid. And, you know, you can, uh, how to say that you're eyelashes or close your eyes with the island and we'll just refer to this as the bottom island. And that's what you see from the outside. But on the inside, obviously there's a ball. So we know that there's a ball and we know that there's a bit of, ah, the slant here. And then we have to start drawing to eyelids around it. So it's gonna look like that, right? So the resulting shaped that I come up with is by looking at the curve of the top I lit and the bottom eyelid. And this is the hardest part. Actually, this took me a lot of practice. I do it a little bit better now. I've done it for many years, but this is the hard part and the way that I describe it is you start off just kind of like going on a curve, right, But then all of a sudden it seems to dark down. So if you imagine it like a little car that's going around the bend, then it crashes over here, right suddenly just veers off. And that happens with every I, um, there are exceptions, but as you can see here, there's a curve and then it goes down. And the reason for that straightness towards the end is obviously because of this tear duct area here. And so there are some situations. I mean, it's pretty much the same with with all eyes. But there are some situations like this. I hear under note where there's a little bit of, comes down a little bit, have a little bit of an indentation there. But still you noticed that it has around. Mess here is going around the front of the I. It's very ball shaped, and it's coming from behind. The Germans like drawing a hat on someone's head. It kind of comes up and around, and then it starts down. But in this case, there's a little bit of indentation for the tear duct, and that's normal to There's a lot of that right here. He also have it comes up. This one has. There's sort of a straightness about the top here, and that could be, you know, a genetic thing, an Asian thing. But you know, it's just like this. Still, relatively the same kind of goes up around and shoots down. And that continues on like that. So those are there's like 123 rules We have so far, uh, keep in mind the roundness of the I. We have a bit of a slant diagonal line here to use our imagination. And then we have the top islet, which will curve up and then dart down like that. And then there's the bottom island. Now what I noticed with a bottom islet that there is definitely an indentation right where the tear duct meats and you can see that on all of these eyes. Here it's in different places, and it's a little less obvious sometimes, but it's definitely there, and that's because of sort of a cat like shape that happens where, if you ever took my course draw kitten, you see the the cat's eyes that come down very sharp like this and then very round on the outside. Then I have that, you know, catlike. Look to him, Um and so I don't know when I think of it, I just think of it like we and cats must come from a similar family or something like this distant cousins. And so there's a little bit of that cat like phenomenon where this is tear duct kind of comes down like that. Many animals probably have that same thing. It must be a mammal thing. So after we do, our first line is gonna come like this, and I could do without the circle here. Now come down, dark down like this. They're going to come in a little bit for the tear duct while remembering that it's going to dip. But not a lot. Just a little right. So it's gonna so I don't want it to go like this. I don't want to come down like that. Come start to come back so that there's a little bit of ah, you know, little little finger pointing out like that. A little bit of a singer pointing out. And then we dip down a little bit and then round back up to the top. And if it feels like you're going to round, you're probably doing the right thing because it really gets around and you can trace over your eyes. You should definitely get some photo reference and try tracing over them toe. Really feel it when you look at it. You might just feel like it kind of looks like a football like this, right? But it's actually not, or some people might think it's kind of like egg shaped, and that's also very wrong. It's very much like this very round, very curvy thing that comes to a sharp point. So for me, that is how I made my sketch here, and I could even do another one very quickly. This is all about getting the shape of the We're just gonna go like this. I can do it once or twice, have a software here, so I get it just how I want it. Yeah, I like to feel the straightness over here just a little, and I can see after I make that first line where my Diagon oise and if that feels good, then I'm pretty good to go. And with this be careful not to come in too far like that. That's a really big tear duct. It's only like 5% back of the full with here, right, a little bit back and then comes down a little like this. I'm OK with that. And then where do we put the the iris? So now we have the iris and the pupil and something to notice with these is the top of the iris. If the eye is at rest, is always cropped off. Notice how there's Ah circle there, but it's getting cut off in every single situation, right? So that draw, try make a perfect circle with the tool here. Then you can see how the full circle gets cut off about how much again, Let's say maybe it's 5%. It's Ah, it's very little, but it has to be cropped off, and it's different, depending on you know, the mood of the person that they're tired. They're eyes might be more kind of droopy. Eyelids will be down further. Um, if you're sleepy, obviously your eyes start to close. But just keep in mind that that has to be cropped off on the top, and the bottom of the eye is always either resting right on the bottom eyelid or also very , very slightly. Just chopped off, cropped off a little bit. With this one, you can see just barely, you know, touches it. This one, this guy, he's definitely toting his head down a little bit to have that much weight. Same with her. Usually it's touching. If the face is looking straight at you, then usually you're not going to see much weight down there. That means your eyes are a little bit too attentive. Or maybe you're paying it. And I mean, these are good things to notice to its Ah, we're trying to draw a certain type of expression. It might mean that you're paying too much attention. You you have intense intensity about you, like this guy here, where it could mean that your head is tilted down a little bit. It could mean various things, but at in its natural state, at a resting state with a face looking straight at you, it should definitely just just about touch down there. So with that in mind, I can go ahead and just go like this but I normally like to do is to judge, say, from here to here, I'm going to start here. I'm gonna finish here and then I'll just try and make a circle with the mind that you know is going to touch the bottom Any of that. Two or three tries, right? You have, Ah, keep the finger on the undo key. If you're working on paper than you might have to just literally sketch it up. And while you're making that circle in, judging this shape a common mistake that you'll come to a this point is that it? You might have made the I too big or too small. In this case, I did pretty good again. I've done this a lot, but you want to judge this space from here to here and here to hear a common mistake would be that maybe you made you misjudged how long the Ashby and ended up there is something like this. Let me just say, for example, I'll try and do the iris exactly how it should be here. Right. So it's cropped off a little bit at the top. Yeah, that's actually a good example. Now see how There's very little space here, little space here, especially after I closed this off. There's obviously something wrong. There is the iris of the eye and iris and pupil area. There are never so big that they're taking up, like 50%. Maybe. Or maybe it is 50. I would say it's some about 25% because you have all of this space here is the same off this space. Here s so it's about it's taking up about 25%. And you know, in that ballpark that I'm not doing actual math here, but it's in that ballpark. So, um, just it's something to keep in mind is the and then you have to eyeball. I don't think there's perfect meth for that. But you know, if you really want to judge it, then you can do that. You can study and you get better with practice, right? But you go ahead and study and measure out how much space from here to here on your average I and in most cases with a lot of practice, you'll just get it right. Okay, so that's that's actually another is one more thing. Excuse me. Uh, the eyelashes I do want to cover that quickly. So let me get rid of some of these. And this is No. This is more of the result that we wanna have. But I'm doing this very sketchy now. It's hard to draw and talk at the same time. So what I want to point out here is here are the eyelashes on the roundness of the eye. Let's look at the pattern that they all have in common. Notice how, When we're over here, they're kind of coming. They all curve right, the curve upwards. But because of the roundness of the eye, where on the left side they're kind of going off to the left a little and then slowly go straight at us. And then they start to go off to the right like this and the same thing on the bottom. Except there. Obviously, these air much shorter, they slowly start to go straight and then curve in the opposite direction. So be really good practice. If you can get some photos like this, just goto Google images or, you know, whatever search engine do you use and, you know, search I or human eye and copy of a bunch of photos and just practice going like this. It's really good practice for your hand for sketching. Um, this girl has shorter eyelashes. Another thing to notice is how they all come down here is the the actual I lit where the skin of the islets stops and notice how I'll ish eyelashes, air going down. That's very common. Very normal with everyone here they go down a little. Ah, lot of these girls are, you know, Western girls, and they've used makeup. And so I mean, there's there's differences and there's reasons for the differences, too. So let me just skip that, okay? So quickly, I just put in my little people here and on the left when you're starting off, don't go long like this. Go short. Sort of short, Very short, actually. And even this this front space here you could kind of skip it, and it just slowly starts to taper in. And remember how it comes down into the I a little bit even. You know this. I hear where she has obviously has makeup, and she pushed her eyelashes of but it still comes down. It interferes a little bit. So you start off lines like this and kind of cross it kind of cross that barrier, come down a little bit and then slowly start to taper off like this. As you can see it. Well, I have very thick lines here too, so it's not very easy, but I hope you get the general idea. I did it pretty well on this one here. Actually, that's near perfect. Comes down like that. These are very thick lines here, but I'm just trying to do the get the general general idea. And so, for drawing the shape of the eye, that's it. Very quick. Review is just to have remember the roundness of the I start off with a curve and dark down a little bit and remember that there should be an angle here. Quick little tear duct area roundness back up there. Crop off the top of the circle on the I people teared up, and then we'll start doing our eyelashes as you come down a little bit and round off as they go. Doing this on the flyers very, very hard assed. You can see, um, you have to take your time with it. There's a really art form to getting. There's the eyelashes, particularly. That's the really hard part. And also, I mean, I'm glad that I'm demonstrating how hard it can be Even, you know, I'm a slightly more experienced artists here and drawn the many, many eyes and even for me to just try and do this in a rush like this on the fly for demonstration purpose. It's really hard to get that perfect because of Ah, you know that that how to say I want to use the where it's so much like delicate nature of vision. If an eye is just slightly off, it'll look deformed. It's ah, you know, the beauty of nature, the perfection of nature that we often marvel over Is that just a slight little alteration in the shape of something? And it looks completely deformed, such at this very sloppy example over here on. And then this one came out a little bit better. You know, the more time I put into it, the better it comes up. But again, this is only a sketch, remember? And so we're gonna be painting. So we just want to make sure that that form it actually better. Some people might even look at this one and say it looks better, but this one is actually better to start with. You went nice, thin, elegant lines and just a sketch to start off with. So that's it for this lesson. Now I can start a base color and we'll see you soon and the next less. 5. Establish Base Colors: So now let's start coloring our eye and we need some simple base color. Sort of like a coloring book sort of scenario where we just laid down some some base colors . I can't think the better, Better word for it. And so we're gonna have to get a skin color, the white of the eye. We're going to need the, uh I'm not sure again, this isn't like a medical class or anything. I'm not sure of the exact terminology of some things, but this I keep referring to it as the tear duct. This, uh, this area here, the actual tear doctors like a organ that's inside and somewhere inside under the skin. But, um, you know, apparently that's why we have this areas where, you know, tears can build up, come out. So I refer to that as the tear duct area, and this is the iris of the eye and the people. So starting off with the skin, something as simple as this might seem. There's some really cool stuff to learn from from this lesson here. And one thing is that I've always noticed, no matter what color your skin is, even if it's ah dark black or Asian or white. Everyone has the same hue to them. So a hue such as if I choose blue, that means that the hue that I'm painting with here is blue on Go down to green. All right, I'll zoom in and in this area here, and I can see here is a green hue, right? And so with gimp, you have your color selector here, and this is basically like a color wheel. But in a flat version of all the colors of the rainbow, here is the full human eye color spectrum, and, uh, so you can use the color picker to choose a color. So I try to choose, you know, like trying to zoom in here. If I choose the color, I'll get the color picker and you put it on the pupil of her eye. And you see, it's like very black, and then I'll get it and go into the blue part of her eye, and you see, it's in this in this blue area. So what happens when I try to get her skin color? You see, it's down in the red area. However, the saturation it would go high and saturation. You can see it's like orangey kind of color. And if you go down low and saturation, that's where her actual skin color is. So let's try that with a couple more people. The same trick. I'm gonna put it on him on this guy here. Even though his skin is very white. See, it's ah, it's just a very white version of that same red. So what if I zoom out a bit? Now here's a girl with dark skin and, you know, select her. I mean, zoom in a little bit a select her skin there and look at this. We're still in that same, you know that the reddish orange kind of area. Now here's a girl with white skin is the same area. No matter who I select, that barely moves at all. In case you think I'm doing some trick here, let me go hit the blue again. Look at that. It jumps all the way up here and I go hit this. Ah, this brown that's a little bit higher towards the yellow. This brown here. Yeah, that's almost close to skin color. Hit his blue and it jumps up here to the blue. So that's it's really, you know, that's fascinating to me, and it's something that keep in mind. It's very important, very, very important for drawing and painting every time you draw people. That's such a good thing to know that every basically everybody should everybody skin should start off with this area right here. Sometimes I go a little bit higher, but that's probably a mistake. I want to keep it close to the red and just a little bit above towards the yellow, which would give you that kind of orangey kind of color. So when you study these things, it makes it pretty hard to communicate with people about color cause you start to realize weird things like everybody's read as an interesting thing to know. Okay, so with that in mind, let's go ahead, and I could use the color picker and drew someone, or I could just play around with this. I want to get something that has a little bit higher saturation because we're painting here , and the more color you have, the more pretty it is right. So and also later on, I'm going to do, um, you're going to have light and shade, and that's going to change things a lot. So get a little bit higher. Little lighter, Not not too far down right there. Looks about good for me. I'm comfortable with that. And of course, when you do your eye, you can choose They're gonna have darker skin. Asian kind of look, It's all about just sliding that center part around to get something darker or higher in saturation. Usually, a saturation isn't too high. So now I'm on a separate layer. It created a new layer, and it's under this, um, this sketch layer. So when I paint, it doesn't affect that. Okay, Very easy. I could have even done this faster. So but yeah, just I'm going around for the purposes of our I here because we only want to do the I. I'm skipping. I'm not going to go to high up. If you want your eye to end up just like mind, then Ah, you know, keep it. Keep it a tight circle contained around the eye so that it doesn't look weird that you didn't draw in the eyebrow or something like that. Now I'm gonna choose a color in my last eye. and the eye, which I used as a a demo A teaser for this course. It was a blue eye. And so this time I'm gonna go brown. I just used the color picker there and also want to note that's actually a little from me That's little high and saturation. I just I simply don't like things that high in saturation will bring it down to about 80%. And well, now that seems dull in comparison. But that's okay. You can put it all the way up if you want again. This is my eye. She does have, like, very amazingly bright eyes. There's a reason why they chose these people for these photos. You have to keep that mind to. Not everybody has such, you know, stunningly beautiful eyes. That's why well, they're probably models, right? And so, um, choose a black and I want to talk more about the color that shows their, um, the reason that that will the place that I chose her color. It was in the middle here. And if I really use this, I also use the middle and try and, you know, maybe bring it down a little or just make sure it's like in the middle middle range here, not all the way up, all the way down so that you have a standard color cause later, we're gonna add detail if you zoom in. You see, there's a lot of, like, lighter lines in there, and you want those to stand out. In addition to that around the eye. Get my red marker here around the I. We want to notice that there's always sort of a darkness. There's like a dark rim around the edge of the eye, and that happens with almost every eye of the Zoom American. See? So it was like somebody drew a black line around it with this one is really prominent, very obvious, very clear. There she has such dark eyes that you can't really make it up, but on every other, I you see it very clear and, you know I don't know anything about. There's a medical reason phenomenon, scientific for that, but artistically speaking is there. This one doesn't have it so much, but that's only one out of many. This guy has, but it's smaller, right? So it's there, so we wanna have this not be too dark, the color that which was not too dark, not too light, sort of a middle range. So that later I can come in and darken it up a little and add at that ring around. As a matter of fact, I don't do that. That might event. Just choose to do that part we could do right now. Later on, we'll have more detail. Have that here and make my brush thicker. Try and get that done bit more quickly. And you do want to try and the, uh, somewhat clean on this base layer because later, try and separate and work in a different layer. Um, you never know. You might want to go back and, you know, tighten things up now for the weight of the I common will recall. A very bad beginner mistake would be to go in here and choose just pure white. It's not that bad. It's not a big deal, but it's not very realistic. If you're going to get a realistic I, that's not true again. Let's use our color picker and I'm gonna select on here and her I and you see what we get, sort of. Ah Gray. It's not all the way. What what it's done here. Do this over. We'll do that again. But this I you can see it's a little bit in a gray area once more. Obviously this I has little shape to it. And look, there's a little color to with each one. That's probably reflecting. Ah, the environment that they're in And this guy here Anyway, none of them are coming up your way. A bit of a greatness to it. So I'm not gonna worry about the color that's being reflected right now, but I am going to make it a little bit great. So I'm just using a flat rate with no few Andi paint in this area. Make sure you get it all good because we're on a separate layer. What would be good right now is I can start to darken up this background layer, so we're going to see through, right? So now I can see through there and see if I miss a mystics. Sorry, miss. Any mistakes he have? I miss any spots. You call that a holiday in the painting industry? I mean, wall painting. I've done that too. So that's that, um, we need a pinkish color. As you can see for this area, I don't have any, you know, special tips for that. Really. Just make sure it looks suitable. It shouldn't be too far off from the skin color. As you can see here this let's go look again. And actually, that's up. Yeah, it's something that read and I'll try another one here. And that is yet also similar to the skin color, as I guess. Obviously it doesn't stand out too much from the skin color. That much we can say for sure. So you know it would be wrong if I did something like, you know, just go full read, write that. That's obviously standing out way too much. So you have to get something a little dark, pinkish and close to the skin cover might even just start off with the same technique you do to get the skin, get that orangey kind of color and maybe go go up a little for some or color and bring it down a little bit more towards the bread. And I think, yeah, something like that work out. But it 10 it seems to vary just judging by my eye, and I'll use the color picker here. It seems, it seems the very a lot, just like the color of the iris can vary a lot. And that's actually all I want to do. That's all we need to do for the base colors. I want you to understand how to choose the colors and, ah, you know, that skin part is very educational. About Everybody is red, and then we're going to go into more detail with a color and start to, uh, we want to navigate away from the sketch eventually. What? We want the sketch to disappear and only have, ah, you know, colors to play with. So we're gonna keep working on that in the next less. 6. Clearning Up and Adding Detail: Now we have a good sketch and some base color, so it's time to start adding some detail. Let's have a look again, a close look at some of our eyes and see how does the iris work? And I don't know if these examples that I picked demonstrated perfectly. But there is a phenomenon that I've found. This one is good. The phenomenon I've found that makes it a little bit easier to understand. And that phenomenon is in the iris. We're focusing on the Irish now. That's the most beautiful part of the eye. Obviously, as it has color, shape of the eye is also very, very important for beauty. But the the iris and color comes out of it is what really makes an eye recognizable in unique. So if we zoom in here on this, I I just wanted, and I got a really, really zoom in here. I just want to note that there's a place right here where there's a right around the pupil . There's an inner area that has a slightly dolar color to it, and then there's an out. There's the rim. There's a rich between that inner area and the outer area, and I think this area again. This is not, you know, scientific or medical course, but I think that is because the pupil of the eye you know, it gets bigger when it's dark to let more light in and smaller when there's light. Obviously you concede there's a a strong highlight right here, so it's very light. And by the way, that's a good thing when you're drawing an I to, ah, to bring more beauty to the eyes, you want the iris to get smaller so you can see more of the color, right? So having a strong light on and I always be better, and when it does that you can see that the pupil is small now and I don't know, this would be the contracted state, or I mean, I've heard the vocabulary before, but I'm not gonna fake like enough. But it's just in the smaller shape now and and see that little rich now from that area. There seems to be sort of ah, again, I'm trying not to be medical but like a membrane or something, and so understanding that even though it's getting very close to medical, we'll remember a lot of artists they started. You know, all this type of research, detailed research on I'm talking about ancient Renaissance times. They would break down. You know, all these body parts, Michelangelo and Donatello and stuff. Um, not Donatello was thinking. DaVinci, I think, but, um, just understanding that and here you can see it quite clearly. There is that that little I want to call it a membrane or something that goes there and coming out of that, there is a bunch of lines, right? They just kind of come out like this. And so this is like, you know, your I'm muscle that helps this pupil to expand and contract. I guess that's the correct way of putting. I didn't want to get too scientific here. We're only doing this for artistic purposes. But understanding that and seeing that there makes it a lot easier to understand how to draw our iris because most people would just stop here and they say, Well, I did everything I'm supposed to. Why doesn't it look like a night? And this is why you have to learn some of these these details. So I'm going to make another layer here and if you're doing this. You know, in photo shop, I hope I've mentioned this by now in the demo video and the intro that everything, um, everything I'm doing here, this is gimp software, but it can be done in photo shop. Or, you know, that all drawing software's except I guess m. S paint or something. They have layers. Any Any noteworthy digital painting software should have this photo shop or gimp or whatever. So notice how I kind of drew that remembering out there with the's wiggly lines. Right? And then I just make those lines that come out like this, and that's pretty much all you gotta do. However, that looks kind of It looks okay, right? It's starting to look more like a night, but it looks almost produced. And so the zoom in here and look it. Look at this. I it's very random. If you're on the outside here, right, it's a lot of random coming and going like that. But not all eyes were like that. This I It's very hard to make out the details. I'm not sure why this one we can also see that random Mr is coming in and out like that. So, um, it's almost like muscle tissue or something. So I'm wondering I want to double check myself if we should. On the outside, right? This one has perfect lines, but over here on the outside, it seems like there's another one of those type of riches. But let's use a darker color to do that, and this isn't the first time I've done this, but, um, see every I It's like, slightly different. I can't help learning new things every time, so and you can choose just one I write, and I just focus on that one. But, um, yeah, let's do this. What I'm gonna do is use this color and someone's gonna choose that darker color ahead out here. I'm gonna kind of go well in and out like this, make a little bit more random, and, uh, in this area here, I often find that it's darker and it's usually better looking. It's either darker or just a different color is usually better looking. If you play around with that color a little bit, when their situations like the more the merrier, more colors, you have, uh, more fun. More interesting. It will be. It's possible I could go over the pupil accidentally in this situation. And I might just let that happen. Not a big deal. A little bit more randomness. I'm also going to use this color to fill in some random areas on the outside, but not as much. There's gonna be, ah, how to say, put it more sporadically. And then, actually, I was on the wrong later. Put that one merchant. This there. That's what I was looking weird. Okay, I could just merge that real quick, and there we go. So I'm gonna get this, um, the original layer that we had to because it's looking No, no, no. That when I leave there this lighter color, I'm gonna take that one again, and I want to lower the a pass ity. Now, this is just what I want to do is not necessarily the best tip, but I'm trying to make it look more randomized. So I'm gonna do that by lowering the A passage e get, you know, blend the colors a little bit too, which is kind of good up here. Right here. I'm gonna come down a little bit. I don't want it to look perfect everywhere. And I want all of the colors to be ah, you know, mixed around a little bit. So some of the darks should be in the light areas, and some of the lights should be in the dark areas, but try and give it and even, uh, and even spread right. But even though you wanted to haven't even spread at the same time, you don't put too much of the dark into the light area and vice versa because you want to maintain the darkness in the dark area and, you know, vice versa. So all of the colors air evenly spread up. Now, can you see how I still have these lines? These very white lines, like 1234 attorney capacity up 123 it emits looks like a machine, a robotic, and that's okay because as we saw it there, some of the eyes are like that. But I wanna kind of scribble around it a little bit, so it's a little bit more natural. Usually, things in nature have what it called a controlled chaos. It's a controlled chaos, having Ah, it is kind of engineer. But there's also a lot of randomness about it in contact controlled chaos, and now I'm kind of liking that feels good. For some reason, I feel like we need a little bit more of the the dark brown color in here. But I'm gonna lower the a pass ity a little, right. So now I know I can still draw over the people. I'm trying to figure out the pupils in there. I guess I drew the pupil color on the color layer and I forgot Nice. Like it draw under it. I could also get the circle tool and do the do that on the other layer. But for now, it's OK. And I was, like, a very bright I um Now I feel like there's too much detail and you can always fix stuff like that so I can get like this with a very low capacity. I'm gonna experiment with this anyway. And so you see, a very low capacity of that brown color I selected and just go over everything, smooth it out a little, so it's not too, you know, wacky looking. I was kind of okay, they're just one strip was good. Make a little darker perhaps kind of like that. I personally find that having a little ring on the inside and another dark ring on the outside usually brings Ah, Well, I I like the way it looks. I just say that that's okay. That's pretty detailed right there. And then we're going to go and at a little bit of edge to the eyelash. We're trying to get rid of this sketch, right? So to make a new edge right here, you can see here is the the white area, and here is suddenly changing color of the white area here. And then we have the skin color. But we don't have a sketch because the real life things don't have lines drawn around them . So how do we merge that area? No. Start by lowering the A pass ity on my sketch layer so I can still see it, but it's faint. Then I can go in here, put it very, very low. I go in here and clean that up. I need a smaller brush, smaller brush and still on schedule. Show. Sorry. Um, make sure. Yeah, that's OK. Right. Okay. So I'm gonna go back to this. My detail there detail air here. Cool opacity. And I was gonna come in here and clean this up and see the roundness of the I should be right around here. There's no more black lines to keep it safe inside there. So this is where it gets a little scary for a lot of people in terms of, you know, being artistic, you have to. Well, you don't have to use the software go like this. I usually like to take my time, draw things out, But let's do this. It is down trying. Get my circle there. So I made a circle using the lips still there, and I could just go around the edge like this with gimp, you can go control I that will reverse the selection. So now I'm painting on the outside and I'll get the grayish white here and we'll clean up this end up looking to digital. You can be too perfect. Sometimes you can be too perfect. There is such a thing is too perfect. Remember the word or the phrase controlled chaos Trying to be natural? A little bit chaos in there. Get rid of this part of here. That's okay. Now remove that ellipse and then we have It's relatively perfect. And I'm going to select my skin color again, and we're gonna bring this so I'll put this sketch back up just a little bit for a moment here so you can see this. And that is to say, the sketch lor You can see where it just meets the eye here, but we're missing some dark parts now. If I remove the sketch, you see, we're getting pretty close, and I just want to fill in these edges. You have the color bleeding over a little. Here, you can see the liners. Little vague she had. It comes down a little too far here. So you just tell. Remember all the rules that you had in your sketch and try and keep those rules the same so that the I Excuse me, the Irish iris should sort of rest here. We can clean us up more later, and this rich should not be so dominant like that. You can't merge everything together, find a happy balance, and I like a straight line here. Right, So make that straighten out a little bit and we don't want that this area to be too big the tear duct area. So for me, that's pretty good. Happy with that? Back to our sketch layer. Now let's get thes skin and make it a little bit darker about going higher in saturation and towards the left words, because it's obviously just darker. And then we're going to detail this. Ah, that the rich, the lip of the upper island. Get down like this and get smaller as you go down, using the pressure, sensitivity or whatever tools work for you, you can draw on a separate layer and then trim it up a little bit. Now, if we remove the sketch layer, we're starting to see our actual the thickness of her islet. There. We'll do the same thing by selecting skin color again and this time to the opposite later, higher saturation and towards the later area, and we'll get the rich of the bottom island here. It might take advantage of this opportunity to make the islet go a little bit higher. Atran. Smooth stroke. It helps to make smoother lines, and you take advantage of this opportunity to get closer to the iris. There is bottom island. I don't deal a couple times, right? That doesn't stand out a lot, but it's their right. You can see the shape of the I. So that's actually for details. That's kind of all we need now because the rest is going to be mostly light and shape. So the details of the iris and getting the edge of the the islet there with pink color. And now we can start to, you know, get further and further away from the sketch layer and very soon will be able to just, you know, remove and delete the sketch layer, and then we'll see what happens. So we see in the next lesson or start doing light and shade. 7. Light and Shade: and now we're going to add some light and shaped. Or I haven't done the eyelashes yet. I actually want to save those for last because, uh, well, basically, they are on top of everything, so we could do it now and then paint under it. But I just find it good to, you know, to go this way one step at a time when layer at a time. And so let's start off by I want to do the eyelids were gonna have toe add lightened shape , toothy both the eyelids and the eyeball itself. And this area here, which we call the tear duct areas. And so, for starters, let's have a look at our reference photos here, and I pull out a red stronger color. Yeah, And let's see, for the eyelid, the crease of the eyelid. Let's look at where it begins and ends. That's gonna be important for our shading for that area there. And it seems to me I'm noticing that a lot of the eyelids they extend beyond the you know that the edge of the eye. So I want to just look very quickly. Yeah, double check this myself. All of them do that, and I find that to be an attractive feature to have noticed a couple of things with what I do. Sometimes I look up photos of like models and attractive people, superstars and one feature A lot of attractive people have. Is that the This lid here? It's like to say the brow, you know, there's the eyebrow and this is the brow liberal above the island will come out kind of like come out like this. This makes the eyes of more deep set. This I here is a very good examples that makes the eyes look like they're you know, the set a little deeper in is not saying very deep. Set eyes are always attractive, but it seems to be one common quality. So let's keep that in mind while we're shading this area, we might want that to come out a bit like that. And where does it end? It seems to ah, look how it almost tapers off. It almost wants to run into. It starts here, and it almost wants to run into the tip of our teared up there, but it leaves a little bit of space still, and that's true. with all of them. So you really get the feeling that they're sort of like, you know, it's almost like the hood of a car. So it's like a little flat that just goes up and down. Um, yeah, that's how that is. So let's go ahead and do that. I'm gonna grab. Firstly is my color picker, and I'm on a new shade here with a new layer here, which I called light and shade. I get my skin color, the color picker, and I'm gonna go pretty far up in saturation and in the value. So we're going towards the darkness and higher saturation at the team at the same time. Excuse team time at the same time. And then I went to lower my a pass ity dramatically. We're on this layer. What I can do is I have to make the brush bigger. I can paint like this one time and with the low capacity, it will be like that. But then, if I go over it again, we'll slowly get darker and darker and darker. And since I'm using pressure sensitivity on my tablet, as you can see, I can go lighter and lighter. So that the line gets dinner and thinner, and that is how we get the effect. So just start off pushing hard than a little bit softer and softer and softer. And it gets thinner as I press softer so it will make that crease eventually. And that's that's how you do that. But I'm going to start over. That was the demonstration, and now I'm going to try and get it, you know, starting from the right point coming over here. We want to work in that crease. Make sure it comes down to where it should come down. But I work in that crease there and then just like that. And I'll leave that like, basically just like that. For now. I'm gonna get the eraser and also lower the A pastie. So you see, I can erase, like, a little bit at a time. I go. 123 That way I have more control over. You know where I want to erase. I don't have to race everything at once. It doesn't have to be a perfect line. Is kind of like he's used in there. We got going to try and bring back the roundness. Make sure the eyelid has its roundness there, and then you can really start to feel the shape come up. I don't want this to really look like a hook coming out there, but I wanted to get a little bit of that so slowly, like wash that away. Also notice with a lot of eyes. It's a little darker in the middle area. In this, in this middle area here and as you come out, it kind of tapers off is not always the case here. You can say it's darker in this area. If someone says, if Thea the centre particles closer to his nose is more deep set and then it kind of comes out from there again, that's not always the case, but it's something Teoh keep your mind off. So this part on the top, we raised capacity here. Shit, This part on the top is usually darker on the island. Might pop out a little bit. You see up here with this guy. We have that phenomenon here. His face is wait. But here they're shape because the light is usually somewhere above us coming down, right? And so that will leave shade in this area here. Let's go back. I can kind of do that. And then you have to wonder, depending on your eye, should you make the eyelid Now I live area here. Should that be dark as well? Because of the light, it depends on how deep set the eyes It is a very deep set, I Then what's gonna happen is even the eyelid will also be covered in the shade of the brow . Think of it in terms of the eye is kind of like a person under a tree is in the shade, right? But what if the person sticks their arm out, such as? The eyelid here is popping up a little bit that maybe that would change days. I'm just erasing a bit here to clean up something. We live a line phenomenon there. Just erase it. That happened. Yeah, for now, I feel comfy with that. And then I might have to touch this up a bit off screen to because I don't want this to get too long. Given the general idea now on the bottom, I let him go to do the same thing. Remember, on a different layer, it doesn't have to be as dark in this area because the face is starting to come out. But there's a usually a crease right underneath the eye, right, Right in this area here, right underneath the eye. There's a little bit of a crease there, and so that that could, you know, make it a little bit darker around here. Just a little bit. They're gonna be sort of like wrinkle lines under there, too, as you see in this, I hear. So it could be a little creative in that area like that. And remember, you can always go back to your other color, your original color, and we feel like you got to dark just, you know, kind of bring it back. Don't worry about going outside of your circle area here. You just come back and erase it. And now I'm gonna start to jump around. Is the little select these colors have already made? I think it might be should be a little bit darker over here, and we have to make the roundness of the so the sight of this top. Ah, how to say the top eyelid. Kind of like a boat. So to get darker on the sides. The late we're assuming in this case that the light is up top. That's coming down so that the light would be up here shining in a downward direction towards the face. So there should be a little bit of shade in these areas where it goes back. And that's kind of okay, right? They're not bed. You can also lower the a passage on the entire Larry here to see if you ever did it a little bit. I'm okay with it. And then I'm gonna go into my I white area here, and that gives me a great I'm actually just gonna go ahead and make it kind of You know what? Let's go all the way. Black. You could go gray, but look a little black and make sure you're passively is very, very low. Now I'm gonna use a smaller right Is, uh just show you how big it is by making it raising it. Pass it. Make it about this big we're going to do is Gramick shade for the lid of Thea of the top eyelid here. Right, That's going to cast a little bit of a cash out of two. Obviously the capacity for that was too high. Going to start off right here. You can't even see it. You might not even be able to see it on your screen. Very, very subtle, But I can stroke over a couple times while you're doing that. Think about the roundness of the I and try and get it. You want it to get a kind of match, the color that's right above it, the bottom rich of the eyebrow. I would have ever done that just a little bit. And the more you make that that shadow come down, the more it's gonna make you feel like they're the. The skin that lit the eyelid is has more thickness to it, very thick eyelid than you know. It will leave a bigger shadow like that right now. We don't need that much. So when a guy like that, now let's think about the roundness of the I. So again, our light is somewhere like up here. I want to add another layer so I can erase more easily and again, with our capacity very, very low as it gets closer ago, a little bit more and more and more like this trying to get darker as we go into that area there. Then I'm gonna erase. The area is around this and in this area here. Yeah, I can I can feel that in myself later. So you see, it's a little bumpy right here. Kind of can the better. There's kind of like a bumpiness around there. I want toe smooth that out. Every tiny little bump like that kind of, and it makes it look like a wobbly, bumpy I So you bring your eraser back again on little capacity. You kind of smooth that out a little, Do the same thing on the other side. Here, you get a little bit darker goes towards the end, then, like this, your racer. I need a full of past the eraser. Clean up the outside on You know what, this period to still be right on the bottom because that should be visible to the light, right? Yes, like that. Now, if we move our sketch layer to see with that, it's almost like we don't need the sketch layer anymore. That's our goal is to get rid of that. We're getting very close to that right now. I might even lower the a passage. He just a little bit more on the schedule. Er and I have to light and shade layers now, because of the roundness of the I that I just made, um, lower the a passing on that just a little bit because it seems dark in comparison to the other parts. And then I'll merge down, and I think we're almost there. That's Ah, it's basically, like in shape. We added mostly shape now in heaven, Will. Actually, we haven't added any light. So we get the skin color again and we're gonna do the opposite, going to go higher. I'm gonna go away from the saturation and closer to the light. There's a little bit we'll do the same thing running very low capacity. I'm going to add on the top of the island here and slowly using the same technique. Slowly add more and try make the late hit in the center area. We can add that also, some spots down here or the face starting to come up and look at your reference photos to see you know where the shape should be. And I could go mawr into this area. My even get later here stronger. I mean capacity, you're stronger. Actually, I'm gonna stick that and just go. You can even go just pure white and it makes some lines shut. The light is really hitting here. There's a fleshy area, which means see, here you have these, like pure white highlights coming out right there. That's Ah, fleshy area, which means that it might be wet to the honest You have, like, liquid in your eye, and that can cause a very highly reflective area. That's about it. We're getting very close. One last thing I want to do is I'm just gonna take pure black. This isn't recommended. And But, you know, for now this make things a lot easier to try and just make the shape that I lived come down the way that it should. And it is, although it's pure black. But by the way, it's also, um I have to do this on separate layer is to ah well, it's too difficult. I can't do it all in one strip Come down this year ago and remember we wanted to extend beyond I come out like that, right? And now I can select that color that I was about to. I didn't finish my sentence. Although it's pure black, it's on low capacity, so it's still going to blend. And then I can grab this other here. The new color that was just made with a black and I can, you know, work slowly work with that on IRA Passage. Now we're really getting there. Okay, turn the sketch back on is to comparison things very, very close. So that is the basic light and shade. And we will continue to clean up in the next lesson and we'll see what's next. I'll see you in the next list. 8. Texture: So I did just a little bit of work off the camera here trying to clean up some of my lines , and I added a little bit of light and shade to this, uh, this fleshy area in here. And so it's just a little bit smoother now. And I feel as though I can basically remove the sketch layer and it looks pretty good, pretty clean, just with those few layers and as few simple techniques that we applied there. So now let's apply some texture, and what texture means is if we zoom in very, very close. As you can see here, there's a couple of things very, obviously like, such as the reflective light, thes highlights that need to be added and that will, you know, improve the realism that they're not realism. The photo realism of, ah, of this image. But before we get to that cause that's the easy stuff. You know, I just had a white spot, even, for example, right now, if I were to go like this and like that and say, Okay, we're done. I just I had eyelashes. That's easy. But before we get to that, let's let's get into the nitty gritty here. The details. If you really zoom in what separates a very realistic drawing like this from ordinary cartoon or something is this kind of texture, Really? Really. Zoom in and you can see there's all of these. Let me get a pen here. Lips. Sorry for the wait. There's all these little creases and lines, but more than that, there's could even be drawn. But these little that it's, ah, you know, the pores of the skin on the little highlights all around here and there. And so how can we achieve that effect and, more importantly, just to know what what is? That is called texture and everything has texture. Almost everything, I guess. You know, if you're doing steel metal objects or clothing and fabric, everything has a different textures. Well, especially in the eye area. On people's skin, you have a lot of this dot, dot, dot type of phenomenon. So using this software and this might vary depending on which software you use. I'm gonna do the same thing that I did with, you know, getting a shade later. I'm gonna try and get dark. I'm going to lower the a passage e on that. So I have this, You know, this type of effect or there's another way of going about this. Actually, I'm going to just leave the capacity on full, and then I can lower the passing of my layer. So before I do that, let me apply jitter every using photo shop. I don't know what technique you can use, what this is In gimp, you can apply jitter, and that turns a single dot into, you know, a bunch of dots makes it so that as you paint along, it just applies jitter as it suggests, you know, But we want to raise the amount of jitter, or that doesn't spread amount of it further. We don't need ah, you know, not drawing. Missed from my ocean wave. Here, it's Ah, it's sporadic rights kind of spread out like that. And so actually, the more the merrier. We're doing it on a separate layer, so you can kind of just go crazy with it. Yeah, I hadn't just go over the I just like that and then lower the a passage e so you can barely see it. But before we do that, that's going. That's how we're going to create the effect, but we'll just, you know, erase the areas that we don't want. So I have to increase my rush rush size here of it, and I will race around here. It's pretty obvious part, and then we're going to have to erase on the inside where the I bought this. And you can even leave a little bit of stuff on the outside here because later we can always clean up. We can merge all these layers and one and clean everything up now is we're cleaning up on the inside of the eye part here. You can also remove all of the texture from the rims, the edges that the lips not sure of the exact word of thes the islets, the top in the bottom because they are a very fleshy soft surface. And I don't need texture. Okay, so that's pretty clean. Now let's lower the A passage E until you're immersed, cannot see it, and that's that's pretty good. It's not perfect because, as you know, if we look in here, it's not just dot, dot, dot raise and this kind of, ah, hard thing to catch. And if you zoom in. I don't really like how how that looks, but you can experiment by using. For example, a smaller Russia might have gone too big with that. Let me actually try that. Ah, you on another another layer. Hi. This one. It was a problem, perhaps that the brush was today. Yeah. See, that might actually be even better. Looks can't make it bigger. We keep the brush size very small. What size was this one? Yeah, they were kind of pick. So I wanted to leave that lips back here. I keep keep on doing what? I I'm trying to get rid of that. Okay. There goes. All right. So is that that better we have toe raise the amount, right? That might be better, because you shouldn't really see that much of it. Okay, Rush eyes again on the race, you have experiment different things sometimes. But whatever you do, you can't just leave it flat like that with thes thes colors. And it also helps to smooth out. Ah, bit of the the roughness and the painting. It's really hard to get perfect a painting technique with, you know, the Grady INTs and the various colors that are moving from here to there. So this kind of helps with that. I'm trying to lower the A pass ity now, And thats better like that, and it feels too strong. You just go a bit lower. Too high? Yeah. So you get a little bit of a grainy feeling now. Even if I zoom in, I think that's okay. That's plausible. And so I'm gonna leave that there and add another layer. Now I want to do the same thing, but with pure white and all the way I was way to big brush size. Okay, Right. And let's do it in areas where the light might be reflecting if you zoom in. I like this one. You really see it here, on the top of her, above her eyelids. This area here you can really see. There's a lot of like, I guess it could be little hairs, or it could be just light reflecting around. There's a bit of that effect. Light is always reflecting all over the place here. Even in the dark area of this girl's eye, you see some light moving around there so nobody has time to draw out all of those little perfections. But we can as some stuff here and there and where there is light, like this part here. And on the top of that, I'll it there. There's definitely be some some highlights. That's what these are. So I did that. That's erase. You don't want. You can already start to see it right now, but I'm going to lower the A pass. Idiot looks obviously too strong. Looks like, uh, like powder has been sprinkled over these parts. Now, in the dark area here, the crease. You definitely don't want that stuff in there because you can't see that part. So get rid of that. I literally had passed you on the brush and have these ones taper off. They don't just disappear. About the kind of taper off light is, uh, gradually changing as that, as it, you know, moves around the shape. A lot of round Mr Things keep saying that word. It's very important to keep in mind around this, so even that looks good. It's almost plausible, but we can lower the a pass ity because it's a bit too much. It just stands out too much. And like that, I feel OK, that's actually good. One thing I didn't do earlier, which we can add to this while we're looking at texture, is what we do is it's somewhere between texture or detail. I'm not sure which one, but if you really zoom in, you see those little veiny lines in the eye and you would think that you can't see that. But the human eye notices the difference when you can't see it. Look at it Right now, it seems like the outside of the eye. The fleshy area is starting to get really realistic. But if you compare that to the inside, it just looks like white grayness. It doesn't look very natural. So let's go ahead and choose reddish color for the veins. And I think you can trust me on this one is just kind of red, and then I'm going to turn off the chitter back to a normal lining kind of drawing. Of course, pressure size is always on, and it kind of blends. First of all, veins are like trees, so they for cough like this very small. But this adds, Ah yeah, it The idea of texture, I guess, is toe make it so that things don't look like plastic like they have a flat surface. Ibv Excuse me. That would be, ah, very unrealistic. Everything should have a little bit of texture to it. And I could even move the texture for an experiment under the light and shade. Let me see if I put light and shade on top. Yeah, that helps little because it adds the shadow to the texture objects. But for now, let me leave it how it is. And I'll make that final decision later. And I also want to say that, um, the veins kind of like blend into this area here. Um, they seem to be in the same family. So you can see there's a little bit of pinkness that comes out from that area, and the flashiness it's slowly blends into the eye. You can see that everywhere it gets a little bit red and then tapers off. It almost makes you think that these are well, they are kind of connected. I guess so. I'm gonna lower the A passing on this brush and put it really, really low. You lower and I just kind of built up a little bit of that readiness around here so it can feel, you know, different types of color coming in here. Like I noticed. We noticed earlier that I believe I'm not sure if I caught that. But if you select the weight of the I usually comes with a little bit of color to it could be reflecting things around the room. Or, um, it could be this red nous. It's never just one flat color. I had a little bit of this and that, and see, that's a noticeable difference. Starting to even know that the center of the eye with the people on that looks very plasticky, but the white of the eye has a lot more to it now. And that helps a lot. Um, for this this area here, I think we have enough detail there that it doesn't really need. I'm speaking about the iris. I think we're OK with that. And the highlights are gonna change a lot there. However, I'm going to go back to the light and shade very quickly. And I think that, um because of the roundness of the I, it should also have you passed the very low, and I feel like there's a bit of yeah, is that is on the correct layer, right? Yeah, Brown, it's of the I. The the bottom half of it. I should probably a little bit a little bit darker than the top. It's really hard to get it right, but basically what I'm saying. They don't want all of the iris to be just one color more of, Ah, basketball, the roundness to it. I don't think the eyes are perfectly round. It's another thing when they they look like they're perfectly round. But because they come out to meet the area and you know there's a socket, the bony socket and stuff. I think that it changes a little. I'm just gonna color right directly over the Irish to get that effect in the core. That might even go around like this. The iris definitely pops out a little bit, I can tell you that. You have to look at a lot of photos to see it. The iris pops out just a little bit on everyone, but I've noticed that. Okay, so that's it. We just added some texture and, you know, worked out the shape in the form a little bit better. And now we can move on. We got to do some highlights and the eyelashes, and I don't think that will be too hard. It's gonna be the fun part and then will be almost done and will do some finishing tips. Finishing touch ups and extra tips and stuff. Okay, see in the next lesson. 9. Reflections - Dynamic Light: Now let's have a look at some reflective light and highlights and things like this. And so if you look at the and you looked closely at all of these these these reference photos, you can always see some type of reflection in the eye. Eyes are very glassy, and the more you get watery or glassy, you know, the smoother and object is, the higher the reflective quality of it will be. And so in this I you can actually see a man wearing a tie voting a camera on his two hands . You can. She has very reflective eyes, right? This one also, I think also because their eyes were very dark. You can see a cameraman in there. I'm not sure if it comes through and the he's wearing a yellow shirt has one hand on the side of the big camera. Ah, so that is not too unusual. But in most cases here, if you're indoors, you'll just see, like one light coming from Well, you know, whatever light is in the room. Sometimes you'll see a couple lights. If you're in an office with many lights and then ah, if you're outside, you'll see well these ones are both outside. So I mean, there might be something I have to learn myself there. But in many cases, regardless of that, you're just going to see one or two highlights. So even in this one here, I only see a little spot of light blue for the sky. The rest is kind of dark from a distance. And so to make our job easier to make our lives easier even, uh, usually just focus on that. But I like to do outside kind of look. And so what I'm gonna do, there's gonna grab pure white. Start with and you can always add more. And I'm just gonna think that we're outside and it's imagine this person is looking off in the horizon so you can see, you know, all of this will be like that. This will be the sky, and everything underneath here will stay dark because that'll be like, you know, mountains or trees or lander or something like that. And so you end up with a reflection that's kind of like that. They're not very happy with that. Um, so it's something after work on until you get exactly where you want but with this. But the important note here is to keep your eye on the shadow. There should not be a highlight in the shadow cause the shadow is obviously where the sun or the light cannot reach. So it shouldn't go up there. And people of that in mind of where is the light coming from and the direction that is coming from. So it should be coming shooting out this way like this according to what we've drawn so far . So that mine son might be up behind where we're looking now and then we have, you know, some stuff like this is what I did with my last. I came out pretty good there. So there should also be the roundness of it is represented somehow crop off some parts like this to show that the light is, ah directly hitting this one area and then it tapers off as it goes around. You do something like that, there can also be reflective, like so you might have some, you know, like bouncing off different areas you just hit hit around randomly. I mean, technically speaking, you can actually just hit around randomly, and I'll end up looking okay. See, like that. And it just works because you never know where light is bouncing off. So that's one tip. And then, uh, if we zoom in here. But I was saying earlier, there's a lot of, ah white spots you can see. We look it like, you know, here and around here is he's just pure white little little spots here that are bouncing off of the's mawr. Glassy, smooth, even watery areas of the eye. And so let's have a look at that. We could have even done this on the, uh, the light and shade there. In fact, I might do that second play with this one separately to go back to Layton shade layer and apply it here and see the glassy would order it kind of parts or just do some highlight like that. They can feel there's some late and this is I'm just using a pure white. It's bouncing around different areas here. Ah, this object is not that rough simunek trying. If you get it in areas where it should be appropriate, you zoom in here, you see, you can almost feel a little bit of a ridge up here and down here it's darker. Right? So you just added up there, it seems more appropriate. Also, you could go like, here and here. You see a bit of a bump. Sort of like that. Then on the bottom I lived there is a rich here. The light should definitely be bouncing off that very smooth. We did our texture layer. We did highlights. As you know, the zoom in here as little bumps a lot over the place. They're still highlights because skin is oily, right? So you're always gonna have Wherever there is little ridges and stuff, you're going to see that. But because of the pores in your skin you have pours, it comes out rough. So you don't see reflections too much off of skin because it's ah, exactly. Because of those pores there you have in your skin that you don't see so much a little random stuff here, make it look like it's covering up some of the red nous. I don't want anything to be too perfect. I'm actually okay with that. It's starting to look realistic, I might add. I'm so no light shade layer. I could add a little bit. Use May, to the the bridge of the I hear some light is bouncing up there. Also, you might want to smooth out why we're here. This the rich of the island here shouldn't be like the edge of a table, right? Kind of smooth that out. It grabbed the order color. Smooth it down a little bit. It's a little bit rounded. Is that a little? Yeah, And this one Smooth out little. It's making a little bit more rounder. You don't want it to be like an edge of a table. I said that twice. E guess it's important. And, yeah, starting to feel the I. I think we put eyelashes on this is going to look very good and then we're going to finalize it. But as far as, um, you know, as some detail to a critique, let it breathe for a little and see what else could be done. But as faras, what we're doing here is the highlights and dynamic light stuff. Feeling pretty comfortable with that looks. Okay. All right. So we'll see in the next lesson 10. Eyelashes and Finishing Touches: Okay, so we've made it quite far. And let's see what a difference eyelashes will make. I believe it will be quite a difference. Now. Girls with makeup have a tendency to really make those eyelashes black, thick, dark, black. This girl, I think she doesn't have that type of makeup on. Um, but she probably has used makeup before, or I simply don't know. But the fact that her eyelashes seemed to group together and a little spikes like that kind of makes me think that, um, she could have some make up on, I don't know. It's not very common phenomena. I'm not sure I'm not 100% sure on that. But a lot of people, let's see. Yeah, here's a guy and his grouped up a little bit, too, but, well, obviously again, these are models, right? So there's there's that to keep in mind, but, well, eyelashes are very important. Part I'm gonna do is I'm not gonna g o this what I did last time. And I'm not 100% sure, but I just don't see any other hair on the body that is 100% black. And so it would seem wrong to me. Also to do extremely black, just pure black eyelashes. So I'm going to go into that reddish area again. And as we've seen the eyes, the brown, the color brown is actually just orange with darkness to it. In case you didn't know that, See, here here we are in the hue of orange and we bring it darker and it goes brown so assed faras rain bows and a color spectrum is concerned there. Actually, there is no color brown. That's a funny thing. Another thing that that will cause you to argue with a lot of people after you learn it. But you gotta you gotta know the truth. So, um, with all that in mind, what I was about to say is that I'm gonna try kind of a brownish color to start with and remember that we're when we're on the left side here. We're gonna know flare off to the left and then we'll flare off to the right. When I get on the right, it's like that on bits, also shorter coming down. We were in the front, and some cases it's really hard is that you got to come down and up like this. So yeah, it's kind of hard. And then as that happens, it was come like like this. And I have these on a higher layer, so it'll be on top of everything. Obviously, I gotta undo not or to come. Yeah. And you don't want to any, like Bens or wackiness or weirdness on this all the way down to the bottom. You really get that curve in there, and it's really good if you could just do it fast. There's a great thing about digital that you could not do with other is that you can go really fast in. Just undo it. Want to imagine doing this on paper? And if you were to make my stick, we don't on paper with, like ink, so you have to give credit where credit is due. That is much harder art form. And then I go back and get the overall shape and Adam, or where I feel like it's needed, sticking it up a little bit desirable. Future is toe have, um, thicker eyelash, particularly with the ladies, it will make more attractive eyes. Course opinions may vary on our topic. I'm not a not one Teoh, tell people what to think now, Here, do you? But you'll notice just about all of the ladies girls and ladies who double in the art of makeup. Um, they tend to put on that. I don't know what it's called. Eyeliner or mascara. Whatever it is that makes her eyelashes darker. Take a step back here. Yeah, and this is randomized. Regardless of you know, anything, I've said that I'm right or wrong. I know it's definitely random. It's definitely thinner when you're on the inside of the eye and it gets a little bit thicker, right? It's a weird phenomenon on the top, it seems to get thicker and longer out here and on the bottom. Just this area. This girl has really long like bottom eyebrows. Never seen that least that. Maybe they just stand out a lot. Um, you know, I don't know if I'm going for male or female here. I'm just drawing a nice if you want to make it look more feminine. Definitely used black. It really dark. This guy happens that dark hair. Pretty sure if you were to find a fair haired person that their eyelashes would close of the bit more fair. I'm not sure, anyway, that's what I did, and I'm okay with that. The way that turn now it's is not great. There's a bit of grouping. Uh, it seems to group Burgess a male or female. It's a little bit of grouping here if you add more eyelashes. I also think it will definitely turn out more feminine, thicker eyelashes just that. Not easy, really not, is it? So I think that they could be much darker. What I'm gonna do is, ah, nothing again. That's it's good that we're using this digital format here a little bit. Come down a little bit further, and we can go into colors, brightness, contrast, and it's gonna have this on a separate layer. That didn't come up, are there? It is. Where to go. Try it again. I think I didn't hit it. Bring the brightness down all the way down. Yeah, and they go darker. They don't want it totally dark A little. Okay, So without saying Brown's still selected, I'm going to go to a lighter color and bring capacity down a bit. I just want to highlight these a little. Actually, we don't need too much capacity. Them? I noticed this from ah, previous reference photos that I had. Or maybe it's just something I did. I can't number, but, uh, you know, hair. It also has a subtle bit of thickness to it. And wherever there's sickness to an object that you're gonna have the light and shade. So even down here, a lot of what we're doing in this whole course is all about details or just focusing in. But you're kind of trying to fool the eye. In some cases, I don't really want to jump in there, and I never did it. I don't really want to go in there and detail every eyelash, but William just, you know, kind of hit some high points here and there so that you can feel the gentle ah, general to feel a general difference in in the in the color of it not to have it all one color that way, you can you get the impression that sort of an impression that there's some late in shape. Okay, so with those eyelashes in place, do a little bit of shape in this. Um, let me see. I'm gonna go back down to the late in shape and this flash. And in this lesson here, we're doing some details were finalizing and ah, well, writing eyelashes at smart details, too. A little bit of shade under here. Then we go back to reflection. And all I did was pull straight lines down under those There's eyelashes down there to give it a little bit of shade. For each eyelash. No go appeared reflections. And since these eyelashes air here, there should be blocking the light. So I make the brush very small with an eraser a little bit bigger. Just kind of erased. Some of the highlight around here, uh, are to the smooth, though, that you should not Oh, is this the amount of the right one? Yeah, I'm surprised there was some some light up there. All right? Yeah, that's right. Okay, let's not be up there. So it's a good thing I came back. We're just trying to erase some of this reflection. So I'm on the reflection layer. It only has that reflection. I'm just trying to I did too much. It's dinner in her mind here. Yeah. Erase some of that so that you can see the Ah, the eyelashes are blocking the light. That really gives you a realistic effect there. See, it's all these little details when you put them together, have make this type of effect. Yeah, that's that. The race in areas here, Uh, that's good. Pretty good. And, ah, still get some other stuff. Details were at it. Um, here we can zoom in with light or even sort of. Ah, sunlight kind of yellow. If you look very close, you can see it's almost like I don't want to say scare Lee, but, you know, olders ridges from the skin. You see, low thought that that it is actually kind of scaling. If you look a human skin very close. She has makeup on. Definitely. Um, this girl, not so much you can see the the pores of her skin. Right? There's little imperfections like that, and wrinkles and stuff like this. There's good. There's some spots here that they passed the capacity very low. Andi, I'm going to get off of this. Go back to the texture layer for this one. It is a technically kind of texture. And let your imagine imagination filling after you look at some photos just do you look at the photos, you take your time and look at him, and then your imagination should kick in and basically, just do, you know, do a job job to do here. So I'm making, like, little lines, right? Little showed everywhere. Kind of like that, right? Little little scales. I do hate to use sword skill. It's not a good quality for people, but, um, that's basically the idea that I'm gonna go with a dark. We're kind of highlight the skills, Let me take away the word scale. And it was a better word for, um, you know that patches of skin you say to the blemishes or actually just the pores and the texture of the skin. But when you get in a really fine details like this, even if you get medical, it's kind of hard to find a word for. Is there a word for every type of wrinkle you fell in every every everything. You know, I don't like how that came out at all. I'm going to I should have thought this before you do the same exact thing very quickly, but on a new layer, trouble the layer here Okay. Ah, new layer. Do the same thing. Little lines in here and these types of things, really Just add no detail when you're I first looks at an object bonus. If it's an eye or whatever, you're gonna see the overall shape. And that could be a cartoony kind of thing where you don't really pay attention. I'm actually like darker lines underneath each one of these little blemishes here. And the reason for that is to suggest that there's, ah, highlight. And then there's a shade behind the highlights that there's kind of that you feel the bump of the rigidness coming out. Obviously, that stands out very much, but this is the reason I put it on a separate layer. So now I can play with it a bit, gonna erase it Some spots, push it back a little, and, yeah, smooth it out a bit. I'm a racing with the lower passivity, So yeah, so, yeah, like I was saying, after you first still get something, you see the overall shape and stuff, and but then, if you want to keep looking at something, your eyes will keep looking for more and more detail, and I do believe you're I can't prove this or I don't know of anyone knows, But I believe your mind does that like automatically. It's searching for details to help you tell. The difference is in things is whatever you know. Everybody looked the same, you wouldn't recognize the differences. And the differences between people's faces are very subtle as we noticed a lot of the eyes of so many similarities. And that's all the texture. I'm just testing. Okay, so that's, like, very close to being finished. At this point. I'm just going to keep you moving around, adding blemishes. I'm going to zoom into my photos and do things like grab, you know, a dark color here and think about the lines and the creases of things. Use me and try to make a smaller Yeah, and so I'm gonna end this video right about here, About to show you how keen up go in, make some lines just, you know, looking at details. Maybe I could make some more types of bridges or bumps here and there. Skin pores Just try to find little things. And don't be excessive and cartoony about it. And I don't make like giant big things like this. You can if you want to, But usually I do it on another layer new layer as you stop and play with the capacity. So it's not too obvious what you're trying to do and a little bit more natural texture layer here. So I'm gonna leave this video right here, and then we'll have another one where we summer summarize and look at everything, and so we'll see in the next lesson. 11. Critique and Final Notes: So I let my I sit for a little bit. I gave it. Ah, well, a little bit of time. I think about a day later that I came back and with fresh eyes I noticed some things that step stood out very clearly and that one of the things was, you know, the roundness of the eye over here. Um, I think there was a little bit of shape and detail that I added around here, but and also with the the islet here, a little bit of the foreman shape just look funny. So added a little bit of shade at reshaped things just a little bit. And that could be hard work. So it's always good to get your sketch right? If you look at this sketch now, you can see it comes down, get on this layer, it comes down, meets around here. And I had didn't really have a pointing us to it. But the resulting image that I made this one here had too much of appointing this to it. So it kind of came out to a point like that. And then I couldn't tell you know which part of the I was the inside of the I didn't look right. So I did that. And ah, that was about it. Another thing is, I want to show the previous I that I did for comparison. And the good news here is that my new I is I think it's better. This is the new I. I think it's clearer, sharper, more confident. This one, perhaps. Ah, it looks a little long. Some of the things I learned here is about how much space to leave. You know, how big the pupil should be of things like that. One of the things I don't make about my new I is that there's not bad is not to say it's bad, but it's, um looks like it's very wide open, doesn't relaxed. I wish that brought the eyelid down a little bit further. So if we look at the references, you can see that that you see, the I I did hear looks a bit more like this one where they're opening their I a bit too much. Um, whereas let's see, this one looks more natural, more relaxed. I like that kind of look and this one too. So I either should have made the pupil bigger or brought the I let down a little one or the other is something that needs to be worked on. But it's not a bad. I just It's kind of funny to keep talking about. And I, um yeah, I can't help noticing that as I say this, Um but yeah, I was pretty happy that so to review the whole process very quickly and this is a lot of fun. I just turn off all of these layers here, go through step by step. We started off with a sketch just like this. And then we added, The base color is really fun toe. There's another reason to separate your layers is so you can go back to the process. It's fun. So after the base color, we had a detail, and then we had lightened shade, and I want to know, Look at what a difference the Lakers shape makes and people were going to come back to that in a minute. So just watch that and the texture is a very subtle difference, right? I might even want to zoom in a little bit more texture. It's a subtle difference, but very important then we had the reflections. By now I can take off the sketch layer and then the eyelashes. And then I just added that little bit of glow effect. Justo, you know, make it look a bit more interesting. And light is like that. If something is shining very bright, it's Ah, you know, light shines around, it's bouncing all over the place, so I think glow a little bit natural. And let's go back to what I was talking about before. If I turn off the texture layer, so that's it's important, it's a noticeable difference. The difference between having a little bit of texture on any anything that you draw or paint it makes ah makes a significant difference. But look at how much of a difference latent shade makes. That is amazing, that this is just not even enjoying anymore. It's not a painting, it's not a drawing, just an odd thing, right that light and shade means so much. I wanted to emphasize that because it's just one of the most important things in the process of learning. Drawing and painting is really to get that latent shade. Ah, lot of our classes I've had and books I have read. They always emphasize that looking at things and you know, to be able to feel the shape of things, it cannot be done in just a sketch. And then you know that that makes things two dimensional. Everything is flat, but to really feel the shape and the form of things as you see them, it's the lightness shade that helps us to feel all of the, you know, the roundness in the shape of things. In this case, it's roundness, but it could be a square. Could be a boxer. You know, the boxy nous. Whatever it is, it helps you to feel three d right. So once you turn off the light and shade, everything goes flat and well, the glow and the reflections also count is like shape. So we turn off those and the light and shade. There you go. It's just perfectly flat, almost Okay, so that's pretty much everything we have for this lesson. If you're interested in learning gimp more and there's a lot more to learn about it, I have another course learned Kim, and you can pick that up. We didn't cover gimp in this one because it was just about digital painting. We'll have many more courses coming up, so I hope that you look for me on my social media places such as Facebook. I'm on deviant art, some of my favorite places to be all the time, and that's it. If you have any questions whatsoever about drawing or him software or anything that I'm doing, then do feel free to write that in the discussion area or send me a message and I'm happy to help you. And I hope you have fun drawing your eye and we'll see you next time in the next course. Next lesson. Have a good day.